AN evening of absolute pleasure and fun was afforded by the Opera Della Luna's staging of Lehar's The Merry Widow.

With a small, very high-class instrumental ensemble accompanying - placed to one side, on the stage, costumed and used as an integral part of the show - the actor-musicians romped through this comic operetta, using an amusingly updated English translation by Jeremy Sams.

All the singers were excellent and delighted in Lehar's familiar music.

Paul Darnell (Count Danilo) made his entrance in a sozzled state, proclaiming his association with 'Tu-tu, Fru-fru...'. Gradually his character developed into an infectious romantic, with a deep love for the Widow (although he could not bring himself to admit this, until he thought she had lost her fortune - then he was able to sing 'I love you'.

Chloe Wright (The Widow) entered in splendour for a Parisian ball; with clever choreography men fawned around her. Her personality grew also, culminating in elegant sophistication, as she and Danilo were united. Her singing of 'Vilia' at the beginning of Act Two was stunningly beautiful.

Other superb character portrayals were given by Graham Hoadly (Baron Zeta) pompous and rather elderly, Katrina Murphy (Valencienne) his much younger and flirtatious wife, and John Barr (Njegus) the baron's right hand man, leaning towards slapstick comedy. Many touches of innovative design inspiration enhanced - red curtains painted with black personae silhouettes to manifest the crowd at Maxime's, for one.

Special mention must be made of the ingenious use of puppets - life size cancan dancers were hilarious, and dummies of glamorous masked ladies waltzed in the ballroom!

A brilliant entertainment in every way.

JILL HOPKINS