The Merry Widow

One of the brightest masterpieces of operetta classics has retained its charm for more than one hundred and twenty years – a delightfully intriguing plot, tangled relationships between the characters, the eternal dilemma of love and money, world‑famous melodies overflowing with intoxicating violin sounds, passionate dances – and the hearts of the audience are warmed!

After its premiere in Vienna in 1905, the work immediately became one of the most successful and most frequently staged creations of the genre. Within the first year alone, it conquered the stages of Europe and soon captivated audiences on other continents, allowing diverse viewers to momentarily escape the overwhelming turmoil of global events.

The interpretation of The Merry Widow is presented by renowned theatre and film actress, as well as operetta, musical, and event director Viktorija Streiča. Audiences know her signature style from beloved productions such as Jekyll & Hyde, My Fair Lady, The Addams Family, Elisabeth, and Mozart!. She approaches the operetta’s story through the lens of today, transporting us into a luxurious world of amusement and intrigue where desires, ambitions, and playful surprises intertwine.

“The Merry Widow is the epitome of operetta — behind its external glamour, light humour, and intoxicating melodies lie much deeper layers,” reveals Viktorija. “Operetta is not merely a bright memory of the past; it can be reborn if it tells a story that matters today. I want this production not to be a museum exhibit, but a whirlwind — unpredictable, yet elegant — a transformation into a world interwoven with love, politics, finance, and destiny. Why choose operetta? Its energy can still resonate with many viewers: for some, it’s the refined humour and irony, for others — Lehár’s beautiful music or playful theatricality.”
Continuing her thoughts on the search for new artistic approaches, Viktorija emphasizes that clarity was essential in shaping this story and every detail should serve not only enjoyment but also meaningful dramatic unity. She hopes to share with the audience the elegance, irony, warmth, and irresistible allure she herself has felt for this piece since her earliest steps in theatre.

The audience will be charmed by the stunning costumes created by Lithuania’s most acclaimed fashion designer, Juozas Statkevičius. According to the director, the designer has created more than costumes — his work helps reveal the characters’ personalities and stage identities. Inspired by classic Hollywood, the designs reflect the elegance, relational intrigues, and the enchanting theatricality of operetta.

Lavish gowns and tailcoats transport us to the beginning of the 20th century, when the astonishing success of The Merry Widow spread from Europe to America and became not only a cultural but also a fashion phenomenon. This newfound “Widow style” encouraged women to embrace elegant, dramatically expressive clothing, influencing everything from black‑and‑gold lace dresses and extravagant feathered hats to perfumes, accessories, and even “Merry Widow” cocktails and cigarettes.

The opulent costumes will shine against the scenography created by stage designer Vaidotas Jakutis. The operetta’s passionate dances are choreographed by theatre ballet dancer and principal Valerijus Osadčenko, marking his choreographic debut. Osadčenko began his career in competitive ballroom dance, earning international acclaim, and later performed numerous memorable roles in theatre dance and ballet productions. At the director’s request, he transformed the main waltz into a choreographic number rich in meaning, filled with tension, emotion, and relational dynamics. Here, dance becomes part of the storytelling — expressing more than words.

“The operetta is exceptionally melodic, featuring Hungarian and Romanian motifs, as well as Parisian waltz influences,” says the production’s principal conductor Jonas Janulevičius. He notes that, for the first time, audiences will hear the full overture, and the score is enriched with fragments from other Lehár operettas, including Offenbach’s famous Can‑Can. “Today it seems normal that a dance follows a vocal number — or that characters dance without words to express emotion. Lehár invented this!” the conductor reminds us. “He brought dramatic tension to operetta and wanted audiences to truly feel the love scenes. I hope we have achieved that.”

The principal roles in the Klaipėda tour will be performed by Kaunas State Musical Theatre soloists: Gabriėlė Kuzmickaitė as Hanna Glawari, Andrius Apšega as Count Danilo Danilovitsch, Egidijus Bavikinas as Camille de Rosillon, Viktorija Zeilikovičiūtė as Valencienne, and Žanas Voronovas as Baron Mirko Zeta.

Hanna Glawari is a special role in Gabriėlė Kuzmickaitė’s career — mecosopranos are rarely offered leading operatic or operetta roles, yet Hanna’s part suits her perfectly. Gabriėlė has created several characters on the Kaunas stage, is frequently invited to perform at the Klaipėda Musical Theatre, and actively participates in concert programs and various projects — including the rock group Thundertale, with whom she performed in the rock opera The Blood of Kings and released a vinyl record successfully presented at this year’s Vilnius Book Fair.
“Hanna is playful and full of charm,” she says. “The witty plot allows us to create lively interactions among the cast. Rehearsals were full of fun, and from that — magic was born. The challenge is balancing Hanna’s elegance with her playful exterior while hiding her inner pain and keeping her distance from Danilo, though she longs to run into his arms. It’s not a dramatic role, but the audience must sense her inner drama — pain, experiences, and growth that aren’t visible on the surface. Music helps me — it is easier to act through singing than through spoken text, because the music carries the emotion. Lehár wrote everything — you just have to listen.”

Andrius Apšega, performing Count Danilo, says the story’s themes remain universally relevant: “Love, jealousy, miscommunication, infidelity, social status — these matters are timeless. I enjoy heroic operetta roles, and the greatest challenge is always to find something new, avoid repetition, and step outside the comfort zone. In this production, the most complex task was uniting choreography with acting.”

“When life offers you a second chance — should you refuse it? This is the question faced by the characters of The Merry Widow — noble, charming, and a bit reckless. The plot intertwines storylines of wealth, social expectations, national financial stability, and delicate personal love. These themes are eternal. The performance reveals how the world of the elite can become a trap, where wealth and obligations restrict personal choice. Hanna, having become a symbol of her country’s independence, uses her financial freedom to protect her private life, despite society’s demands. It invites us to reflect: does wealth give us freedom — or turn us into its prisoners?” says Viktorija Streiča.