Given Shaw’s antipathy towards musical theatre, it is ironic that three of the great musicals of the twentieth century were based on his work. My Fair Lady and Guys and Dolls take their inspiration from Pygmalion and Major Barbara, but the third is often forgotten. Ahead of both was The Chocolate Soldier, adapted against Shaw’s will from Arms and the Man. It was set to music by Oscar Straus in 1908 at the height of enthusiasm for Ruritanian escapism, when Lehar’s The Merry Widow was all the rage, and was hugely successful in both Britain and America where its tone of gentle romantic satire fitted in naturally with a musical tradition steeped in G&S. But the last production was snuffed out decisively by a direct hit on the Shaftesbury Theatre in 1940, and there has been no fresh one until now. All credit to the ever adventurous Opera della Luna for taking it up.
The plot is a romantic comedy that gently satirises the endless inconclusive wars in the Balkans which ultimately kindled the First World War. Raina Petkoff is engaged to Sergius a vainglorious soldier away on campaign. Swiss mercenary Bluntschli seeks sanctuary and charms Raina, her mother, Catherine and maid Louka. His penchant for chocolates rather than militarism marks him out as the typical quirky Shavian survivor. Will he be found by a search party? Will the returning Sergius and Raina’s father, Major Kasimir discover what has happened? Will there be a conventional or unconventional romantic ending? Many plates are set spinning through a sequence of foot-tapping, memorable melodies.
The great strength of this production is that everyone really believes in the material, and they have the collective musical and acting skills to put it across with total conviction. Director Jeff Clarke always has some surprises up his sleeve and the way he weaves the bombing raid of 1940 into the production is masterly and a highly appropriate acknowledgement of the history of the work. He has also restored a lot of Shaw’s original witty dialogue now copyright is no longer an issue, and this is greatly to the benefit of the book. This team have always had to operate on a shoestring, and they make a virtue of it, whether in ironic asides that break the fourth wall, or in Elroy Ashmore’s sets which successfully suggest Edwardian opulence without having to embody it. There is a whirling fizz to the delivery, wonderfully clear diction, and overall you can tell that everyone is enjoying delivering the production as much as the audience are appreciating it.
As Raina, Eleanor Sanderson Nash leans into sweetness and steeliness as every good Shavian heroine should, and Felicity Buckland does the same from the vantage point of the maid, Louka, finding droll humour at the expense of male posturing. Kristin Finnigan, starts as the stern matriarch and then turns into the same sort of delihtful tease as the other women in the tale. While the men are largely the object of the humour, there are some fine moments from all of them. Robin Bailey sends up the self-preening vanity of Sergius hilariously, and Paul Featherstone matches him in the blinkered entitlement of Major Kasimir, channelling his G&S portrayals of military bluster. Guy Elliott captures the naivety and eccentric charm of Bluntschli and sings his tenor numbers with conviction and authority. Felix Kemp completes the cast as Captain Massakroff.
A new orchestration by James Widden opens up many delightful solo instrumental moments for the players and provides an impressive collective ensemble with weight and power, but not so much as to overwhelm the singers. James Ham conducts with precision and care for dynamic shading.
This was a delightful evening, a tribute in Opera della Luna’s 30th year of what can be achieved on very modest means with artistic taste, traditional craft and collaboration without ego.
Music: Oscar Straus
New English version of Libretto by Jeff Clarke based on G.B.Shaw
Opera della Luna
Director: Jeff Clarke
Conductor: James Ham
Cast includes: Robin Bailey, Felicity Buckland, Guy Elliott, Paul Featherstone, Kristin Finnigan, Felix Kemp, Eleanor Sanderson Nash
2 hours 30 mins, with interval
Until 27 June 2026 and touring
Photo Credit: Lidia Crisafulli