QUANTUM’S CANDIDE: BEST OF ALL POSSIBLE WORLDS?

F. J. Hartland

Some major talent created a musical version of Voltaire’s classic Candide: Leonard Bernstein, Hugh Wheeler, Stephen Sondheim and John Latouche.

In short, that’s a lot of genius.And because we’re dealing with such a magnitude of genius, this musical is not an easy one to produce.  In fact I haven’t seen a production of Candide in 25 years.  (And for those of you trying to guess my age, I will say I was a mere child at the time…right.)

Four young people (Candide, Cunegonde, Paquette and Maximilian) are the students of Dr. Pangloss, who teaches them that because we live in the only world that exists, it is, therefore, the best of all possible worlds.  It soon because apparent (through all the maladies that befall them) that it is also the worst of all possible worlds.

Director Karla Boos and Quantum Theatre tackle this masterpiece in—of all places—the garage of the former Don Allen Auto City.  This leads to using a variety of automobile-related set and prop pieces.  Some of these uses are brilliant, some not-so and after more than two hours, it becomes tedious.

When Cunegonde sings “Glitter and Be Gay,” it is disconcerting to see her placing lug nuts (instead of diamonds and pearls) around her neck

Also, a cavernous garage is not always the most appropriate venue to watch a play.  It’s drafty, the acoustics aren’t the best, and creature comforts are at a minimum.

Boos keeps the pace rapid-fire and she has assembled a cast of powerful voices and strong performers, full of energy—particularly John Wescavage as Candide, Nicole Kaplan as Cunegonde and Jeffrey P. Howell in a variety of roles (most notably Dr. Pangloss).  Lisa Ann Goldsmith and Jeffrey Gross are stand-outs in the ensemble

But no matter how powerful the singers, there are problems.  The size of the garage coupled with the arena setting often makes it hard to hear the lyrics.  The vocalists also compete with seven musicians.

The small (but outstanding) pit orchestra is in the center of the oval race-track set and in constant view of the audience.  Unfortunately, many of the musicisnas look bored throughout the performance.  Not so with conductor Andres Cladera, who is a delight to watch.  Whether he is conducting—or participating in the action of the show—he adds energy and spark!

Tony Ferrari’s set is simple—but allows the action to move quickly from scene to scene.  Allan Hahn’s bright white lighting gives the show a harsh, flat look, full of shadows.  I’m not sure how appropriate that was for all the scenes.

Richard Parsakian’s costumes begin white…then slowly make the transition to a rainbow of sparkles and color.  Befitting the location of the show, the orchestra (and some of the ensemble) wears grey mechanic’s coveralls.

This production of Candide isn’t the best of all possible productions—but it certainly isn’t the worst either.  It falls somewhere in between.

Candide continues through November 22. Call ProArts for tickets.