Don Giovanni at Grimeborn Festival, Arcola Theatre

Mozart’s Don Giovanni, which premiered in 1787, blends comedy, drama, and the supernatural in the tale of a rakish nobleman who seduces, deceives, and ultimately meets his doom. With music by Mozart and a libretto by Lorenzo da Ponte, it’s one of opera’s most enduring works, revered for its moral ambiguity and musical complexity. Ensemble OrQuesta’s latest take, part of Grimeborn Festival at the Arcola Theatre, offers a bold, minimalist reimagining but not without its flaws.

Marcio da Silva leads this revival as both director and title role, with Beth Fitzpatrick conducting a reduced ensemble from the Hastings Philharmonic. The stripped-down orchestration (eight players) means some of Mozart’s grandeur is inevitably lost, especially in moments like the Act I finale. Still, the musicians played with commitment, and Fitzpatrick deserves praise for keeping the pace alive and the singers supported.

Visually, the production uses black-clad mannequins and minimal set pieces to evoke Giovanni’s many conquests and the shifting settings. The concept is clear; he sees women as interchangeable objects, but the imagery grows repetitive. Costumes are all-black, and the overall aesthetic, while cohesive, lacks visual dynamism. A more creative use of lighting or space might have lifted this.

Vocally, the cast delivers with mixed results. Da Silva’s Don Giovanni is imposing but lacks the seductive spark the role demands. His voice carries well, but the emotional depth and roguish charm are inconsistent. Flavio Lauria’s Leporello is dramatically solid but vocally underwhelming, and John Twitchen’s Don Ottavio feels musically tentative. However, the women shine: Rosemary Carlton-Willis gives Donna Anna a moving vulnerability, Helen May’s Elvira is intense, and Anna-Luise Wagner is a standout Zerlina, full of energy and crisp articulation.

Orlando Bishop’s puppet Commendatore adds theatrical flair, though the effect isn’t entirely seamless. There are clever moments: the candlelit dinner scene, the ominous descent into hell, but also missteps, like sluggish scene transitions and awkward blocking. The production’s darker tone is compelling, but its emotional range is narrow, lacking the light and shade needed to make the story resonate fully.

Overall, this is a brave and thoughtful version of Don Giovanni, commendable for its ambition and occasional invention. But vocally uneven performances, limited staging, and a lack of dramatic polish mean it doesn’t quite deliver on its potential. Worth seeing, but not quite unforgettable.

Image credit: Ensemble OrQuesta