Review of ‘That Bastard, Puccini!’: “Compelling premise fails to surpass its ‘tosco’ writing approach”

London’s Park Theatre hosts the return of James Iverne’s period play, exploring the rivalry between the legendary Italian composer and his reputed colleague, Ruggero Leoncavallo. Guillermo Nazara shares his views on the show — to let us know if it’s appealing enough for audiences not to require a nessun-dorma shout.

Good artists copy, great artists steal. And as once put by Disney’s Imagineer Jeff Burke, plagiarism may be the sincerest form of flattery. Funnily enough, the ghost of Puccini also haunts Burke’s source of inspiration for the iconic Paris attraction — a simple four-note motif, which, though not the epitome of originality, plays through both in La Fanciulla del West and Il Tabarro.

His influence on the contemporary musical theatre landscape wouldn’t stop there, however — songwriter Claude-Michel Schönberg openly borrowed from Butterfly‘s Humming Chorus as his starting point for the legendary tune Bring Him Home. On the other hand, critics often comment on John Williams’s lush film scores as deeply rooted in the Lucca maestro’s heart-wrenching style.

The fact that other grand ones have fervently fed from his genius isn’t news even to the least versed operatic connoisseurs. What more than a few may not be acquainted with is the notion that, just as many coming after him, Puccini himself allegedly pocketed someone else’s idea to his benefit. But this time, it wasn’t a random musical passage, but the concept itself of bringing to the stage Henri Murger’s collection of stories, Scènes de la vie de bohème. A controversial move that brought enormous success to Puccini’s career and oeuvre, but destroyed a long-lasting relationship of personal and professional friendship along the way.

That Bastard, Puccini!, which opened last night at London’s Park Theatre, reunites audiences with the composer’s signature dramatism — on this occasion, however, brought through his feud with also revered author Ruggero Leoncavallo, who fiercely accused his colleague of copycatting his intention of writing a full-scale opera based on the Parisian tragedy. Both celebrated in their era, with Leoncavallo achieving worldwide recognition through the massively acclaimed Pagliacci, the play explores the competition between the two creatives, rushing to prove to each other who’s the rightful queen of the night (forgive the anachronism).

The premise is a tempting eye-candy to anyone enticed by both period and musically themed plots. Writer James Iverne demonstrates his passion for the subject. He crafts some moderately interesting expositions of the artists’ work, trying to analyse and, in that endeavour, help the viewer comprehend the complexities and hardships of birthing a new piece. Live aria renditions, beautifully performed by Lisa-Anne Wood, contribute to the entertaining quality of the material.

The problem, however, stems from the playwright’s struggles to find the core drive of the show. It may establish a proper conflict, despite its slow-burning introduction. Yet, the play isn’t capable of going anywhere beyond the musicians’ initial desire to compete against each other.

We can grasp Leoncavallo’s motivations. Though a competent librettist, he’s striving to make a name for himself as a composer. As he states at the beginning, it’s not until your third operatic tour de force that you earn that title. At the same time, Puccini’s obsession with staying on top of his game could bring out the character’s humanity and vulnerabilities. And, in the end, their connection as two ambitious forces builds up a compelling thematic tone, visually magnified by a hanging portrait of Giuseppe Verdi, the godly melodist for whom they both long to be his deserving successor.

All the elements for poignancy and depth are there. And yet, the characters’ arcs are extremely sketchy, stuck on a starting point from which they can hardly move on, as the script fails to provide enough growth and evolution throughout. Consequently, the audience’s emotional investment in their journeys is minimal. There’s scarcely any pathos to absorb, muddled by a generally farcical style; sometimes amusing, but on the whole, acting as a wall that prevents the story’s soulfulness from permeating.

The company lands as the most satisfying aspect of the production, apart from its well-executed and intricately ornamented set design. A cast of three brings this tale of mamma-mia rivalry to life. Under Daniel Slater’s direction, their take serves as an extension of the text’s not-too-serious attitude, verging on a slightly exaggerated take that’s nonetheless quite enjoyable. Among them, the highest mention goes to Sebastian Torkia and Alasdair Buchan, both exuding refreshing comedic skills and an overall likeable presence through their renditions of Puccini and Leoncavallo, with some additional appearances by Master Mahler.

Even the greatest must face failure before rising to their artistic heaven. And even when they do, they’re just one step away from falling back to where they started. That Bastard, Puccini! is unlikely to become a magnum opus of any kind. Yet, it can take consolation in the fact that its (anti) hero reworked many pieces of his before they accomplished their iconic status — Madama Butterfly required no less than five rewrites.

Despite its flaws, the latent interest of its germinal idea still toured and dotted the stage last night. And with the right tweaks, it could lead to a far more fulfilling evening packed with cultural beguilement. So far, though, much of its potential remains sola, perduta, and abbandonata.

All pictures credit to Photographise.

That Bastard, Puccini! plays at London’s Park Theatre until 9 August. Tickets are available on the following link.

By Guillermo Nazara