The stage, which is really just a platform for conducting school assemblies, is a good 40 metres from the nearest auditorium seats. Murals on the side walls, epitomising motherhood and religious faith respectively, contrast curiously with Puccini's bittersweet tale. The effect from the Circle is of one of those royal performances at Versailles where only the inner court was invited. Stacey and Bieda have produced an entertaining version that is a triumph of inventiveness over this restricted space. They use movable screens to evoke the rooftop garrets of the bohemians in acts one and four, while the second-act set of Momus's cafe is bright and expansive, belying the narrow stage.
Nothing is denied or restrained.
The production is greatly assisted by a vigorous, 25-piece orchestra of young players, directed by Rick Prakhoff. It produces a gorgeous, warm sound that always supports the singers that many a professional company would be proud to house. Of the principals, Jamie Allen's Rodolfo is a very manly sounding tenor. He hits the high notes, particularly those of the love duet at the end of act one, with absolute accuracy. Everything, however, is sung forte.