First performed 134 years ago, Pagliacci continues to spark the stage and move the audience with the power of opera. Its intriguing narrative of actors who power through a performance despite their own personal problems breaks down the barrier between the audience and the stage. The best word to describe this piece is: unnerving…but in a good way. As Nedda (Paula Sides) and Canio’s (Ronald Samm) relationship hits a breaking point their show must go on, while the creepy Tonio (Matthew Siveter) and Nedda’s lover Silvio (Danny Shelvey) do not make it any easier. Throughout the 1 hour and 45 minutes, we are introduced to the drama of these actors’ lives, as well as a performance within a performance, all set to the beautiful style of opera. It was truly an overwhelming, yet incredible experience.
Eleanor Burke, the director of this performance, could not have done a better job at creating a claustrophobic atmosphere through her ensemble. The harmonies they provided, along with their eagerness to hear all the gossip on stage, exposed me slightly as I realised I was just like them. Without them, I truly do not believe that the performance would be the same. Their eeriness creates a tension as I have never felt before; they will definitely be one of your favourite parts of this performance.
The main cast, however, was just as perfect. Sides and Samm’s chemistry, whether that is their love or hatred, creates the illusion present in the story, as they perfectly snap out of each emotion as their characters start and end a scene. Siveter created something that I did not know was possible, such as repulsion and anger towards a character that I almost forgot was just an actor; it was excellent. Shelvey’s collaboration with Sides as they sing together is something majestic; their voices blend perfectly together, although I must say I wish Sides’ mic was at a higher volume, as I could not hear her as well as the others. Beppe, played by Harry Grigg, however, was definitely the star of Act 2. In Act 1, he is hardly heard singing, his character merely an addition to the narrative, not the center stage; however, once the fake performance begins, his voice illuminates the stage in a way opera has never filled my ears before. Creating a depth in his style, rapidly changing his register, Grigg blew me away and made me wish that his voice was heard for longer.
Now, for the atmosphere. The set designer, Michael Pavelka, bounces between basicness and extravagancy, creating the perfect contrast for the audience to follow. The lights, particularly in Act 2, were extremely bright, creating an overdramatic outlook on the fake performance performed; however, this should definitely be something to consider if you are sensitive to that. With the first half being designed with simply a couple of doors, water coolers, and chairs, the audience is focused primarily on the actors (particularly Nedda and Canio in their expensive coats), while in the second act, they all blend into one beautiful pink, screaming for the audience to enjoy the over-the-top show. It does not overpower, nor distract, but rather it creates the full image that we as an audience need for the performance to make sense.
Whether you are a fan of opera or a mere fan of gossip, this performance is definitely something that is a must-see. With performances all over England, there is no excuse not to experience this piece!
Lyceum Theatre, Sheffield
Opera
Pagliacci
Music and libretto by Ruggero Leoncavallo (1857 – 1919)
Conducted by Gerry Cornelius
Director: Eleanor Burke
Cast Includes: Paula Sides, Ronald Samm, Matthew Siveter, Danny Shelvey, Harry Grigg
Touring Until: 23rd May 2026
Running Time: 1 hour 45 minutes including 1 interval
Photo Credit: Richard Hubert Smith