The Student Prince

Reviewed by Holly Bartges

The Student Prince. It’s a simple story, and that may be its major disadvantage sandwiched in between two other thrilling Central City Operas: The Tales of Hoffman and The Juggler of Notre Dame. Although it is a Sigmund Romberg operetta that found its way to the New York stage in 1924, the simplicity of the story lacks expectation, character growth and character demands.

Conducted by Douglas Fisher with stage direction by Michael Ehrman, the artistic execution of the orchestra does wonders for the linear music No question about that. Because of the simplicity of the story, the music doesn’t have very many places to go.

Prince Karl Franz, heir to the throne of the mythical Kingdom of Karlsberg wrestles with royal life boredom. Eric Fennell and John McVeigh share the role. The voices are magnificent. Rich, warm, soothing and more than pleasant to listen to.

Incognito, the prince goes to the Heidelberg University with his tutor, Dr. Engel, joyously sung by Daniel Narducci. Joyously because Marducci adds spicy humor to the role giving some anticipation to what will next come out of his mouth, and how it will come out. He has a double mission: to accompany the prince and to spy on his activities for the King’s Valet, Von Mark, richly sung by Michael Borton.

At the Golden Apple Inn, Karl carouses with other students, singing a drinking song so long it could well become an act all to itself. It’s a fun song the first time around, but its length turns to annoyance.

At the Inn he meets Kathy, a simple bar maid, delightfully sung by Diane Alexander. Of course they fall in love. Of course the love goes nowhere. The King dies. The prince returns home to take the throne. By decree he has to marry Princess Margaret, and of course he can’t forget Kathy. He rumbles around in his head over his love for her, returns to the Inn to see her one last time, as they vow never to forget each other.

That’s the story in a nutshell.

The music, although well orchestrated, doesn’t have variety, the paper doll characters have onion skin personalities, as the “Once Upon A Time Fairy Tales” did with which our parents tucked us into bed.

What the Student Prince does do is tickle the imagination to want to hear the artists sing stretched complexities of growth and soul. Artistic talent lurks behind the King’s walls and the Golden Apple Inn, but Romberg doesnŐt give them much opportunity to explore. Narducci connives Dr. Engel to tease chuckling lines. He’s a stitch. The stitches, however, aren’t long enough to make up for the once upon a time story, which simply doesn’t propose enough musical variety.