OPERA, OPPRESSION, AND OVATION: A MUST-SEE MASTERPIECE

By Natasha U’Ren-Ashdown | @tasha.ua ⭐⭐⭐⭐⭐ | Press Invite

Stiletto delivers a gripping showcase of vocal prowess, compelling storytelling, and thoughtfully crafted stage design. The cast’s sheer talent is utterly mesmerising, and the staging highlights the brilliance of each musician as well, with the orchestra remaining visible throughout the performance on an elevated second level. Their visibility felt like an integral part of the stage dynamic and was especially captivating.

Set in 18th-century Italy, a time when castrating choir boys to preserve their soprano voices for female opera roles was tragically common, the story follows Marco (Jack Chambers), who is newly scouted to entertain the wealthy D’Orozco family. While wandering the town square, where poverty and struggle are present, Marco meets Gioia (Jewelle Hutchinson), the daughter of an African slave. Despite her undeniable talent, Gioia is marginalised due to her ethnicity. Their initial interaction is charged, as Marco, unaware of his bias, ridicules her, prompting Gioia to respond with a stunning operatic performance that brings the theatre to a hushed, awe-struck silence. In that moment, I had goosebumps and found myself wishing the venue were larger, so more people could witness her talent.

What follows is a compelling blend of humour, drama, and tragedy, culminating in an accidental murder and Gioia’s unjust sentence of execution. Enhancing the emotional weight of these moments is the stage lighting, exquisitely designed by Ben Ormerod, which plays a vital role in guiding the narrative. This is especially evident in scenes depicting Gioia’s imprisonment and in seamless transitions that distinguish internal thoughts from spoken dialogue. The minimal staging and refined choreography was also perfect. Props were cleverly repurposed, and the cast’s seamless transitions and synchronised movements when leaving the stage added to the elegance of the production. Every detail, no matter how small, felt intentional.

Across the 20 songs, each performer gets a moment to shine, which I absolutely loved. Some standout performances came from Pietro D’Orozco (Douglas Hansell) and Azzurra (Kelly Hampson) whose songs had playful rhythm and wit, offering levity and charm while remaining rooted in the story’s world.

This musical is the definition of talent. By the final curtain, the entire audience was on their feet, cheering in a standing ovation. Even as a solo attendee, I found myself whooping the cast, which is something I rarely do! I entered the theatre not knowing what to expect, but I left with absolute certainty that this is the next must-see musical. It’s an unmissable masterpiece – book now!

Stiletto is running at Charing Cross until Saturday 14 June.

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Photo Credit: Johan Persson