It is based on Ravel's The Spanish Hour, a short one-act opera described by one critic as a miniature pornographic vaudeville. The opera is first heard complete then, in the second half, as a series of sketches as the cast prepares for, and goes through, the backstage antics of the performance. This second part is carried out with well-selected items ranging from Kiss Me Kate and Baby, It's Cold Outside to Don Pasquale and The Marriage of Figaro.
The matter of which language is hard to get right but, despite its title, The Spanish Hour is musically and dramatically so French that to sing it in English is to lose much of its sparkle and wit. I never thought I would ask for sur-titles, but that would at least give better access to the subtleties of Maurice Legrand's libretto.
A stage set that is simply reversed for the second part is effective and practical for a touring performance. The small orchestra is placed a the side of the stage where it can take an active part in the drama. My ears longed for more than a quintet in the string section, even though reason recognises the practical realities of such a small group of instrumentalists. But could not the colour of Ravel's score have been retained where he calls for such horological eccentricities as musical boxes, cock-crows and cuckoo clocks?
Within the confines of the production the cast is excellent. Helen Medlyn as Concepcion is at her usual versatile best, and paired well with the youthful energy of Jared Holt, the errand boy Ramiro. The clockmaker, Torquemada, spends most of the time setting the town's clocks, giving his wife, Concepcion, time to play, so Richard Greagor's time on stage is restricted to the start and finish. The rich bass of Richard Green as Don Inigo is right for his pomposity, as is the lighter quality of Derek Hill as Gonsalve.
Time Pieces has two more Christchurch performances on Wednesday and Friday, to complete its tour. It is an assured night of witty naughtiness.