This is an imagined reworking of the Orpheus and Euridice myth by Little Bulb Theatre in which Django Reinhardt, the famed gypsy jazz guitarist of the inter-war years Paris, acts out the role of Orpheus opposite a nightclub chanteuse. It’s a flimsy conceit, but allows a very talented group to entertain with some style.

If you like your gypsy guitarists suave, dumb and with a permanent air of noble sacrifice, this Django is for you. For me the persona began to wear a bit thin after half an hour or so and a bit of a tweak from the director would have lifted it out of Hades and the Doldrums at one stroke. I learn, incidentally, that Dominic Conway who ‘plays’ Reinhardt knocked off the required idiosyncratic style of guitar playing in preparation for this production – a feat one can only doff one’s cap to.

His Euridice, in the guise of Yvette Pépin (Eugénie Pastor) as compère conveys an air of slight nonplussed confusion, which she alternates with supreme confidence as soon as she starts to sing, as in her powerful rendition of Piaf’s, Hymne à L’amour. Her accomplished singing is matched by the crystalline voices of the ‘Triplettes de L’Antiquité’.

One of the high points for me (shared by a very appreciative audience) was when percussionist, Tom Penn, as cool as you like, swans on as Persephone and launches into a perfect counter-tenor to give the underworld’s verdict on Orpheus’ plea for the life of Euridice. Amidst all the comedy it was a strangely moving episode.

The general approach of the director, Alexander Scott, is of the, ‘oh my gosh there’s an audience, we’d better do something funny’ sort. The something funny turned out to be a sort of prancing walk and odd nervous smiles, funny enough – once or twice. Again the band, whilst being a band and not the various prancing denizens of the forest and underworld, effect a kind of elevated, prim, Edwardian sang froid, which sat at odds with the supposedly louche surroundings of a Parisian night club.

None of this, however, was able to diminish the sheer pleasure generated by the performers. The silliness of much of the dumb show mixed with an effervescent bonhomie and vivacity of presentation, together with a great sense of fun and no small musical talent, whisk the whole concoction into a joy not to be missed. ★★★★☆     Graham Wyles    24/09/15

Photo by James Allan