ACT I

At the Pontevedrian Embassy in Paris, a gala ball is being held to honor the Grand Duke's birthday. Valencienne, the beautiful wife of Baron Zeta, the elderly ambassador, is flirting with
the young French playboy, Camille de Rosillon, but at that moment her husband has a more serious problem. How can he save his country from impending bankruptcy?

Anna Glawari, the wealthy widow of a Pontevedrian banker, has just arrived in Paris. She is seeking a new husband and if she marries a Frenchman, her millions will be lost to the Fatherland. The ambassador is determined that Anna, the Merry Widow, shall marry a Pontevedrian husband, and has selected the first secretary of the embassy, Count Danilo Danilovitch, as the ideal bridegroom.

Things are not going to plan. The irresponsible and light-hearted Count Danilo has not yet arrived at the ball, Anna Glawari arrives, escorted by a galaxy of hopeful suitors including the Vicomte Cascada and Raoul de St Brioche. The Widow commandingly sweeps into the ballroom and, in the waltz that follows, reflects that she might be loved for her millions rather than for herself. The ambassador escorts her to supper, when Danilo, who has been found at Chez Maxim, his favourite haunt, arrives. Danilo hasn't slept for several nights, so he decides to have a rest. In the deserted ballroom.Valencienne and Camille return perturbed. Valencienne has forbidden Camille to declare his love, so he has written the words,'I Love You' on her fan and now the fan cannot be found anywhere. Anna appears and wakes the sleeping Danilo. The two meet — again. (Years before Danilo had wanted to marry Anna, but as she was the daughter of a peasant farmer, his aristocratic family would not consent to the marriage. Anna married the rich banker Glawari while Danilo retreated to Paris to find inebriated consolation at Maxim's.)

Anna teasingly reminds Danilo of their old affair, but Danilo declares that for all her money he will never propose. When 'Ladies' Choice' is announced, all the men hope to have a dance with the widow, but she chooses Danilo, aware that her attraction for him is still alive in her heart.

ACT II
The following evening, Anna gives a Pontevedrian garden party at her house. She sings the famous 'Vilia: about an alluring forest sprite. Baron Zeta confides to Danilo the story of the fan. Danilo immediately recognises the writing as that of Camille, and is all agog as to whom the lady can be. Anna is still annoyed at Danilo for continuing to avoid her. She is now completely in love with him as he is with her. It is only her millions and his pride that keep them apart. Danilo continues his unsuccessful search for the owner of the fan. The fan now comes into Anna's possession and she is convinced that the inscription on it is Danilo's declaration to her.

Meanwhile Valencienne and Camille appear and the pair retire to the summer house. Things get complicated. Baron Zeta has called a meeting of his staff at the very summerhouse. He finds the door locked and through the keyhole he believes he sees his wife and Camille. Furiously he tries to break down the door, but Valencienne escapes by another way and Anna gallantly takes her place. Camille and Anna come out of the summerhouse and announce her engagement to Camille! She is delighted at Danilo's reaction to the announcement, he is furiously jealous and she interprets this as a sign of true love.

ACT III
At Chez Maxim, the grisettes perform their famous can-can. Zeta arranges a private meeting between Anna and Danilo and, left alone in the restaurant, they reconcile. By now, the ambassador, convinced that his wife is having an affair with Camille, decides to divorce her, and in the name of the Fatherland ask for Anna's hand. She tells him that unfortunately, by the will of her late husband, she loses all her money if she remarries. Danilo interrupts her — if she loses everything, he can now propose — and does. Anna, triumphant, explains to him that when she loses the money, it becomes the property of her new husband. Laughingly, he resigns himself to his fate, saving the fortunes of his country at the same time. Valencienne's standing with her husband is restored by her inscription on the fan — "I am a respectable wife" — and all ends with a recapitulation of the men's ode to the delightful enigma that is woman

Director's Notes

To me, the success and longevity of The Merry Widow seems to lie in the fact that it is a journey of the human heart, as relevant to us now as it was when the piece was conceived. It deals with the hurdles faced in the pursuit of romance and does it with a story and a score that is filled with beauty and charm, lyricism and wit.

Many observations and aspects of love are fired at regular intervals to hopefully hit their target ... you, the audience.

Marriage, fidelity, the flirtatious wife, the duped husband, the independent woman, the lost lover, love regained the second time around, all facets of our emotional lives and all providing a wealth of material for social intrigue. There is the constant battle of 'public morality' versus 'private truths' going on and it provides an evershifting ground on which the game is played.

The intricacies of the social structure are created through a hierarchy of characters that reinforce the sense of structure and formality. There is also that other old favourite subject for us all ... what is acceptable for one may not be regarded as acceptable for another. It is interesting that in the patriarchal society in which this piece is set it is the women who seem to have the real power and steer the action. It is a world of double standards and clearly there are strict guidelines for economic and sexual negotiation. There is marriage as a negotiated business deal rather than a romantic one. For Valencienne, the price is high and true love must be forfeited. For Anna, on the other hand, it is her fortune that has to be 'relinquished' in order for her to secure the love of her life.

Much that is presented as light and frivolous proves to be the public mask for the hidden agenda.

Despite all of the above The Merry Widow is in favour of love over all else. Even though it fires its arrows of contemporary allusions and insights, it is steadfast in its celebration of the affairs of the heart.

A witty, charming and lyrical journey, peppered with humour and ultimately resulting in the triumph of love,

As Anna says ..."There is only one thing in life that matters!" I suspect she is right!

Gary Young