Kismet
Arcola Theatre, London

Amy Matthews

To start any production with a pre-set of bullet-torn Baghdad and three apparently dead bodies in Middle Eastern clothing would be an arresting statement to make. But when the production is a musical comedy based on the music of Borodin, the decision seems a little more bizarre.

This is particularly so when no further attempt is made to refer to current affairs or political situations throughout the entire evening. However, this rather cheap attempt to grab the attention of the audience with an irrelevant piece of social reference is the only bum note hit by the Arcola Theatre's production of Kismet.

It is in all other respects, a thoroughly good old traditional musical, with the singing, dancing, and highly unlikely plot-lines that one would expect. The cast is clearly talented, particularly vocally, although some of the operatic backgrounds are a little too evident, preventing a completely satisfactory vocal blend in some of the chorus numbers and duets. The delight of hearing all the songs performed with absolute clarity and power without the need for amplification more than makes up for a slight lack of energy: at times, the production is caught in an unhappy medium between the gusto of good amateur productions and the over-confidence of gesture found in West End and Broadway musicals.

This is no ground-breaking piece of musical theatre, but what is done is done well. The stock characters of clowning beggars, heartless brigands, star-crossed lovers and vampish, over-sexed wives are all convincingly portrayed; in particular Oliver Thomsett shines as the traditionally uncomplicated male romantic lead, with a stunning tenor voice and a quietly confident acting style.

Unusually, considering the amount of lying, plotting and political corruption within the musical, the conclusion offers no 'moral of the story'. Instead, one is merely offered, as the title suggests, the intervention of destiny as an acceptable motivation for the entire story. But does anyone really go to see a musical for moral judgement and social commentary? If so, the forthcoming production of Sondheim's Sweeney Todd at Covent Garden might be a better choice. But if what you are after is a slick, well-sung piece of grown-up family entertainment, it appears that your destiny is to go and see Kismet.

Till 3 January 2004