So, not the operatic stuff of melodrama or romanticism, but a character comedy needing subtlety and understated wit. David Zinn's clever sets started with several white, miniature village buildings onstage (too obviously lit electrically for Edwardian times). Manipulated by the cast and augmented by rolling units, they served as seats at Lady Billows' manse and as produce bins at the Herring grocery. Mark Barton's lighting cast pastel atmosphere when needed—though follow spots sometimes broke the mood. Given the basic white palette, Richard St. Clair's costumes demonstrated remarkable variety of line and texture.

The show was very aptly cast, though several of Curtis's promising singers proved inconsistent: fully on top of the challenges at one moment, yet struggling slightly with pitch or articulation at others. Some standouts: Brenden Patrick Gunnell was excellently deployed as Albert. Heidi Melton made a delightful, impressive star turn of Lady Billows' fiercely demanding part. Elif Ezgi Kutlu lent Nancy beautiful mezzo tone and sharp delineation; the next night she was to change roles with Claudia Huckle, sonorous and quietly effective as "Mum" Herring. Elliot Madore had fun with Sid, Britten's almost libelous portrait of a randy straight guy; bass Allen Boxer put over Superintendent Budd's words drolly and with admirable clarity. David Hayes led a satisfying rendition of the heterodox and allusive score; special credit to pianist Martin Dubé.

ALBERT HERRING

April 14, Curtis Opera Theatre at the Prince Music Theater