"Bliss was it in that dawn to be alive," trilled critic Harold Hobson in Wordsworthian mood about a musical which even in 1954 must have made Gilbert and Sullivan look like Ingmar Bergman. Over half a century on, can Salad Days's sweetly silly paradise be regained?
"Bliss was it in that dawn to be alive," trilled critic Harold Hobson in Wordsworthian mood about a musical which even in 1954 must have made Gilbert and Sullivan look like Ingmar Bergman. Over half a century on, can Salad Days's sweetly silly paradise be regained? The fact that my eyes pricked as the two lovers launched into the dance-song celebrating their magic piano may partly be ascribed to nostalgia for teenage am-dram - late Seventies, not early Fifties - but much more to the airy lack of irony in Tête à Tête [3]'s deliciously classical production.
Links
[1] https://theartsdesk.com/users/david-nice
[2] https://www.addtoany.com/share_save
[3] https://theartsdesk.com/opera/t%C3%AAte-%C3%A0-t%C3%AAte-opera-festival-previews-martin%C5%AF-rarity
[4] https://theartsdesk.com/print/2818?page=0,1
[5] http://www.amazon.co.uk/Salad-Days-Original-London-Cast/dp/B000CNDXHC/ref=sr_1_1
[6] https://theartsdesk.com/theatre
[7] https://theartsdesk.com/topics/reviews