By Yan Zhao

Crimson Staff Writer

Prostitutes, pirates, and persecution may have marauded the stage during the Dunster House Opera Society’s (DHO) rendition of Leonard Bernstein’s Candide (which ended its run in Dunster Dining Hall this weekend), but in the end, love and wisdom ruled the day. In a production of lovely postmodern excess reminiscent of Baz Luhrmann’s Moulin Rouge , the actors shone, the songs soared, and the audience was left bubbling with enjoyment after watching the story of an extra enamored with a movie star named Cundegonde.

Indeed, the high quality of the production made it difficult to pinpoint a clear star of the show. The vocalists were by no accounts extraordinary, but their performances displayed obvious musical talent. Patrick W. Hosfield ’05, in the title character Candide, looked the part. With a suave red sweater and cheeks of the same color, an earnest gaze and gentle gait, Hosfield adeptly assumes the character of Candide. Even more impressive is the acting range that Hosfield displays, deftly switching between naively optimistic and violently belligerent expressions. In a number of sad solos and in one great temper tantrum, Hosfield plays his part with an unnaturally wide emotional breadth.

Hosfield admirably brought to life the rather flatly-written character of Candide, but Lara M. Hirner ’05-’06 may have had an easier time creating her memorable performance in the role of the more complex character Cunegonde. Hirner convincingly delivered one heart-wrenching song, beautifully showing her internal struggle both with her face and with the quivering delivery of her lyrics. Hirner belted out piercing high notes that matched the alternating moods of her character: ashamed and proud, scared and bold, wistful and mischievous.

Cunegonde’s brother, Maximillian, was played with all manner of vanity and pompousness by Ben R. Eisler ’08, a notable rising star to watch in Harvard’s musical theater scene. Alli C. Smith ’06 played Pacquette with flirtatious touches, pouts, and lusty glances.

Simon N. Nicholas ’07 boldly and successfully conquered his three major roles. Deftly switching from narrating as Voltaire to philosophizing as Pangloss, Nicholas even became the cynical, angry Martin for a song. The casting choice in this respect is interesting, and it is noticeably incongruent to see one actor starting off as the eternally optimistic Pangloss become the bitter Pangloss ravaged by syphilis, and finally, the cynical Martin sweeping, and laughing (or crying) with hysteria. Nicholas’s success in these roles is a great credit to his acting talent.

The strangely likeable characters of the lecherous Governor and the greedy but debonair ship-lender were both played by Jonas A. Budris ’06, who not only has a fine voice, but fit well into his tuxedo and top hat. The comically quirky Old Lady was pleasantly played by Kathy D. Gerlach ’07. Despite the program’s description of the Old Lady, Gerlach certainly did not move like an old lady, and her sultry songs and fantastic tales of losing a buttock were very amusing. Gerlach played the part well, and her strong voice more than compensated for a less-than-authentic Spanish accent.

However, the true stars of Candide were undoubtedly the orchestra members. From the opening notes to the final flourishes, the orchestra hardly faltered and did justice to Bernstein’s inspired score. The violinists, led by concertmaster Ian K. Goh ’06, were pure and lovely. Similarly, the woodwinds, brass, and keyboard were simply heavenly, and the percussion section was duly percussive. Conductor and Musical Director Daniel W. Chetel ’06, who waved vigorously to coax such beautiful music from both the orchestra and the vocalists, deserves praise on the fruits of his efforts.

In fact, the Candide music really carried the show. At times, the production’s plot was rather disjointed and failed to generate much excitement, but the audience members could not help but lose themselves in the majesty of the jarring and tragic music.

The creativity of the visual effects complemented the rest of the show. A projector splashed various pictures onto a backdrop of the stage, adding a unique and sometimes ironic touch (such irony was truly exemplified when a picture of Senator Joseph McCarthy was flashed during one scene). The choreography was similarly imaginative and especially noteworthy in one scene in which Cunegonde was tied to six sheer ribbons. Throughout the work, the combination of bright lights, ladies carried on the shoulders of men, and the large chorus strongly drew on the Moulin Rouge aesthetic.

It is remarkable that such a dazzling production was presented within the relatively homely quarters of the Dunster House Dining Hall. While one might speculate about the glory that Candide might attain if presented as a full Broadway production, it was easy to appreciate the DHO’s resourceful and impressive production. This isn’t just Voltaire’s satire—it is a satire for the postmodern, Hollywood world.

—Reviewer Yan Zhao can can be be reached at yanzhao@fas.harvard.edu.