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The Guardian
11-08-2025
- Entertainment
- The Guardian
County cricket: One-Day Cup off to a good start despite shameful neglect
You might not have heard of Garsington Opera, but you may have heard of its nextdoor neighbour, Paul Getty's celebrated cricket ground. Both are on the Wormsley Estate, simultaneously just off the M1 and a world away. Not all country house opera venues are as closely linked to cricket as this one, but there are other parallels. Both depend on weather to some extent – even the lovely Opera Holland Park is rather different in the golden hour if it's raining – and both aren't quite as middle-aged and middle class as you might suspect, especially if you look into their community work. And both play an important role in developing the superstars of the future. Country house opera survives, thrives even, because it accepts what it is (i.e. not the Royal Opera House or the New York Met); it provides a distinctive all-day experience, integrating festival elements with the main attraction; and it markets itself to its niche audience effectively. Watching the live streams of the One-Day Cup largely from out grounds last week, it struck me that there's a template to explore there. That's if domestic 50-over cricket survives at all. The loss of David Lawrence is still felt sharply at Gloucestershire and it's hard not to think that those beautiful photos of him with the Blast trophy last autumn may be inspiring his club towards another trophy this season. Perhaps that's for the romantics, but the One Day Cup is where we fools gather in August and Gloucestershire sit top of Group A with the only played three, won three record in the country. Zaman Akhter's pace has been key to those three victories, his four wickets between the 37th and 41st overs in the opener against Derbyshire destroying the chase just as it was about to launch. He's going to Essex next summer, quitting the club along with Ajeet Singh Dale (Lancashire) and Tom Price and Dom Goodman (Sussex). Tough times in Bristol. So lots of work to do in the academy and on recruitment, but might it just free the minds of those departing players? Eliminating the fear of failure has proved successful in Test cricket after all. The other 100% record in the group belongs to Hampshire, whose two wins have been built on centuries from Nick Gubbins and Joe Weatherley, but also on a less eye-catching aspect of white-ball cricket. In each of their matches, six bowlers have chipped in with a wicket, eight in total across the two games. Only one of them, 16-year-old Manny Lumsden, is going at above 7.5 per over and the kid got three of Glamorgan's top five out on debut, so let's cut him some slack. Having options in the field across the long stretch of 50 overs is crucial for captains and Gubbins has them. It's also a lot of fun for fans to see occasional bowlers and kids such as Lumsden given a proper go with proper fields and not just one before lunch, in hastening a declaration or when the opposition are playing out a draw. In Group B, Yorkshire lead the way with two wins from two, Warwickshire and Northamptonshire their victims. Their top scorer in both matches (55 and 159) is Imam-ul-Haq. That does raise a question – and I pose this as a longstanding supporter of overseas players in the domestic game. Should we praise Yorkshire for finding such a good player, one who provides a role model for communities with whom they desperately need to build bridges? Or do we lament the presence of a man with more than 100 appearances for Pakistan in a competition with so many young pros trying to make their way in the game? I tend to the former, but I'm unsure. If there was an easy way to ringfence XIs so such imbalances could be avoided, I suspect I could be persuaded otherwise. A fine game of cricket at Taunton saw Somerset lose after two wins and Lancashire notch a first win after an abandonment in their opener. All eyes were on the Rew brothers after their sparkling starts to the tournament. We all know that James is a huge prospect, but 17-year-old Thomas was spectacular against Durham, looking, already, to have everything a player needs to succeed at the highest level. But they couldn't make it three in a row, both failing as Lancashire, steered by skipper Marcus Harris and George Balderson, at 24, the experienced pro in the middle order, got the visitors over the line, eight down. What of Rocky Flintoff I hear you ask? Well, he's been wearing a hi-vis vest over adverts for crisps instead of developing his game. He'll likely be doing the same tomorrow instead of playing in a Roses match at York. Riddle me that. The media does not have its priorities right when it comes to cricket. At the time of writing, the BBC cricket page has two round-ups of the One-Day Cup action and 33 stories about The Hundred. It is not the only culprit, but it is the publicly funded national broadcaster, not a private cheerleader for a business enterprise. I've tried to avoid the regular articles published at this time of year that denigrate the standard of play and absence of stars in the 50-overs competition, but I have seen one. They are as tedious as the 'one man and a dog' pieces that used to greet the start of the County Championship – but you don't see so many of them now the online viewing and listening figures are available. Players, sponsors and, most of all, fans deserve a bit of respect. We'll be here long after The Hundred goes the way of the Stanford Super Series. This article is from The 99.94 Cricket Blog
Times
01-05-2025
- Entertainment
- Times
The Merry Widow review — a mafia rewrite hits the target
Scottish Opera happened to choose the warmest day of the year so far to launch its miniature season of operetta, but the coincidence was apt, because it's hard to imagine a more sunlit, summery experience than this new production of The Merry Widow. This co-production with D'Oyly Carte and Opera Holland Park is the Widow as we haven't seen her. John Savournin's staging translates the action to the 1950s world of the New York mafia where Don Zeta needs his mafioso family to get its hands on Hanna Glawari's fortune before it falls into the hands of their mob rivals, so he gives Danilo, his consigliere, the job of marrying her. It works remarkably well because Savournin appreciates that the key to a successful
Telegraph
01-05-2025
- Entertainment
- Telegraph
The Merry Widow: Bada bing! Scottish Opera serves up a beautiful production with a dash of The Sopranos
In Austro-Hungarian composer Franz Lehár's three-act operetta The Merry Widow, Baron Mirko Zeta of the fictional, cash-strapped Balkan state of Pontevedro attempts to manufacture a marriage between his right-hand man Danilo Danilovitch and the titular rich, Pontevedrian widow Hanna Glawari. His purpose is to keep Mrs Glawari's millions in Pontevedro. In this new co-production by Scottish Opera, D'Oyly Carte Opera and Opera Holland Park, the action is relocated to the world of the Italian-American mafia in mid-20th-century New York. The baron is reimagined as mafia boss Don Zeta, who is plotting to get his hands on the extremely valuable lemon plantation of Tennessee-born Hanna Glawari, the recently widowed wife of a boss in the Sicilian Cosa Nostra. This new, English-language adaptation by John Savournin (book) and David Eaton (lyrics) begins in Don Zeta's palatial Manhattan apartment. There we find the mafia boss in good spirits. It's his 50th birthday party, many of his enemies appear to be 'sleeping with the fishes', while others have woken up to find a severed horse's head in their bed. These macabre mafia clichés are, however, conveyed with a light-hearted humour. Savournin and Eaton have created a clever and delightfully silly cross between a commedia dell'arte farce and an episode of The Sopranos. Most of the Don's men are trigger-happy numbskulls, and Camille de Rosillon (the operetta's amorous Frenchman) is recast as a Gallic singer whose American concerts and record contracts owe a very definite debt to his mafia connections. This inspired daftness is conveyed fabulously by a universally impressive cast. The ever excellent bass-baritone Henry Waddington is disarmingly jovial in the role of the greedy and ruthless Don Zeta. Remarkably – given the unarguable nastiness of the protagonists – the adaptation succeeds in achieving the operetta's ultimate ascent into romantic comedy. Soprano Paula Sides (who is, in fact, from Tennessee) plays Glawari with a winning combination of sassiness and glamour. Her gorgeous singing, in Act II, of the lovely aria Vilja creates a moment of improbable beauty in the midst of the prevailing buffoonery. Opposite her, Danilo – who is recast as the Don's consigliere, and sung by the fine baritone Alex Otterburn – makes for an unlikely yet convincing romantic hero. There is more spoken dialogue in the piece (especially in Act I) than you would usually expect in an opera. However, Lehár's bright, colourful score makes its presence felt increasingly, and the Scottish Opera's orchestra delivers it with the required combination of lightness and heft. Designer takis delivers three very distinct and brilliant sets (in Don Zeta's apartment, Glawari's Sicilian villa and Manhattan nightclub Maxim's). There is no interval between Acts II and III. What we get instead is a set change that is breathtakingly well executed. This bold adaptation makes for a delightful evening's opera. It is one that is bound to impress as it tours around Scotland before a summer run at Opera Holland Park in London.
