When “CandideinOhio, it wasn’t just another staging of a musical — it was a chance to revisit one of Leonard Bernstein’s most idiosyncratic works in a place where the mixture of satire, operetta, and idealism often resonates deeply. In this article, we’ll explore how Ohio’s productions of Candide have given new life to Voltaire’s biting satire, how they handle the challenges of the work, and why the piece still matters today.
The Legacy of Candide — Why It Matters
To understand the significance of CandideinOhio stage, we first have to remember what Candide is. Bernstein’s Candide, based on the 1759 novella by Voltaire, is a satirical operetta that follows the naïve protagonist Candide as he journeys through wars, personal loss, disasters, and betrayal, all while maintaining (or being forced to confront) the teaching of his tutor Dr. Pangloss: that we live in the “best of all possible worlds.”
The work is musically rich and tonally complex, weaving together comedic set pieces, lush orchestration, high-flying vocal lines (especially for the role of Cunégonde), and philosophical underpinnings. Over the decades, Candide has been revised, adapted, trimmed, rearranged, and reinterpreted dozens of times, making each production something of a unique experiment.
Because of its hybrid nature — part operetta, part musical theater, part satire — Candide is notoriously difficult to stage. Dialogues need to knit together with arias, the tone must shift between humor and gravity, and the size and scope of the story demand creative staging. Many productions lean more into either the musical or the operatic side, depending on cast, budget, vision, and venue.
When Ohio theaters take on Candide, they are engaging with all of these challenges. Yet Ohio’s tradition in musical theater, opera, and university‑based productions gives the state a special vantage point: a mix of ambition and a willingness to take creative risks.
Ohio’s Embrace: Notable Stagings in the Buckeye State
Ohio has seen several interesting Candide productions, each bringing something different to Bernstein’s work. Two of the most discussed are the Ohio State University productions and the annual presentation by Ohio Light Opera.
Ohio State University (OSU) — “CandideinOhio”
In March 2018, OSU’s Opera & Lyric Theatre presented a semi‑staged concert version of Candide at Weigel Auditorium. Under the direction of A. Scott Parry and with the OSU Symphony Orchestra conducted by David Becker, the production offered a trimmed, one‑act version without intermission—an attempt to streamline what can become a sprawling, episodic piece.
In promotional language, Parry acknowledged the challenges: “We are being provocative with our revised text and some updating. Audience members will recognize some current figures on stage. People may be offended; people may walk out.”That boldness is part of what makes Candide interesting: it demands a balance between entertaining and provoking, between nostalgia and challenge.
Reviewers and observers encouraged audiences to come for the music first. The OSU production made visible the tension at the heart of Candide: how to preserve the biting wit, the flow of satire, and the emotional core, while also making the show accessible to modern audiences.
Ohio Light Opera — A Festival Favorite
Few festivals in Ohio have embraced CandideinOhio. In summer 2018, OLO mounted a full production in the Friedlander Theatre at the College of Wooster, using the 1999 edition prepared by director John Caird for the Royal National Theatre.
In a review, Timothy Robson praised it as “a splendid affair in every regard” and publicly recommended it without hesitation. He noted that, while the second half of the show slows and becomes more cynical, the cast, orchestra, and staging brought it to life with energy and clarity.
One of the production’s strengths was its casting: Benjamin Krumreig as Candide brought sincerity to the role, Chelsea Miller soared through the challenging coloratura demands of Cunégonde, and Alexa Devlin delivered comic brilliance as the Old Woman. The chorus, too, was active, and the technical design — with modular set pieces, projected skies, and clever costuming — allowed the story to transition across many settings (Lisbon, El Dorado, Paris, etc.) with visual coherence.
In reviews of OLO’s staging, critics and the public alike noted moments of surprise—portions of the script that hadn’t been staged before, or staging choices that reinvigorated familiar songs. One reviewer, Lauren Kennelly, remarked that even though the second act includes gloomier material, the final ensemble moment (“Make Our Garden Grow”) lifted the audience’s spirits, radiating love and acceptance.
The OLO production showed that Candide could be more than a difficult opera‑musical hybrid; with strong direction, musical discipline, and creative staging, it could feel coherent, engaging, funny, and moving in equal measure.
What Makes the Ohio Productions Stand Out
When you compare Ohio’s versions to others around the country or world, a few features stand out:
1. Balancing Scale and Intimacy
The OSU concert version opted for a leaner form, acknowledging that the full spectacle of Candide can overwhelm smaller auditoriums. Meanwhile, OLO’s version emphasized modular, clever staging that retained a sense of theater without overreaching in budget. Both approaches respect the material’s ambition while adapting to practical constraints.
2. Textual Adaptation & Modern Resonance
Voltaire’s satire is of a world very different than ours, yet his targets — religious hypocrisy, war, greed, blind optimism — remain relevant. Ohio productions have sometimes updated or tweaked references to speak more sharply to today’s issues. The OSU production even warned audiences some faces or figures might appear familiar.1 Because Candide has so many versions, each production wrestles with which text to stage: original, revised, hybrid. Ohio has embraced versions that incorporate modern sensibility without abandoning the work’s core.
3. Musical Fidelity & Vocal Technique
Bernstein’s score is demanding. The Candide overture alone is a showcase of orchestral versatility; the rest of the score includes jazz inflections, operatic coloratura, dialogue transitions, and ensemble complexity. Ohio productions have benefitted from strong conductors (like David Becker at OSU, Steven Byess at OLO) and cast members capable of navigating both theatrical and operatic demands.
4. Audience Reception & Local Culture
In Ohio, theaters, colleges, and audiences often have a strong appreciation for both musical theater and classical music. This cross‑genre audience helps Candide find footing: those drawn by Bernstein’s name, by satire, by vocal spectacle, or by intellectual challenge may all find something to appreciate. The Ohio production reviews show audiences left smiling, thoughtful, or pleasantly surprised.
Ohio’s productions also benefit from engaged theater communities that support regional opera, university theater, and festival programming — meaning they are more willing to take artistic risks.
The Challenges Ohio Productions Face (And How They Overcome Them)
No production of Candide is without hurdles, and the Ohio editions are no exception. But how they address those challenges is instructive.
Episodic Structure & Pacing
Because the story jumps geographically and tonally, pacing is often a problem. Some versions sag in the second act, or lose coherence between scenes. In the Ohio Light Opera staging, reviewers noted this issue: though the first act moved with energy, the latter half’s cynicism and complexity weighed heavier. Still, strong direction, editing of text, and brisk scene changes helped mitigate the drag.
Casting & Vocal Demands
The role of Cunégonde (especially in “Glitter and Be Gay”) demands an almost acrobatic voice capable of coloratura high notes. Candide’s character is less about vocal fireworks and more about presence and acting. The Old Woman role must blend comedy and pathos. Recruiting performers who can navigate both acting and singing is difficult. But Ohio has had success: Chelsea Miller’s Cunégonde, Alexa Devlin’s Old Woman, and ensemble members received praise for adapting to the shifting demands.
Textual Versions & License
Because Candide has many versions, directors must choose which libretto and structure to use—some versions are more comedic, others more operatic, some more faithful to Voltaire, others more theatrical. The Ohio productions have leaned on the 1999 John Caird edition (in OLO’s case) or modified texts (in OSU’s case) to find a balance between satire, clarity, and flow.
Running Time & Audience Endurance
At full length, Candide can stretch to three hours or more with intermission. For modern audiences, that’s a challenge. OSU’s production streamlined to one act without intermission; OLO’s staging used editing and pacing to avoid sluggishness.
Staging & Scenic Demands
Because Candide travels from Westphalia to Lisbon, Paris, El Dorado, South America, and back, set design needs to be flexible. Ohio Light Opera used a central hexagonal platform with moving arches and projected backdrops to evoke shifting locales without cumbersome scene changes. Creative choreography — like ensemble “voguing” hand movements when dance space was limited — added movement and interest even when large choreography wasn’t feasible.
Why Candide Still Shines in Ohio — And Why It Still Matters
Ohio’s productions of Candide are more than local theater events — they are creative statements about optimism, satire, humanity, and art.
First, Candide’s central claim — that life is messy, hopeful, cynical, absurd, painful — is evergreen. In political turbulence, social injustice, war, or collective anxiety, the question “Do we live in the best of all possible worlds?” becomes sharper, not duller. Ohio productions that highlight those tensions remind audiences that Candide was, and remains, satire with teeth.
Second, by staging Candide, Ohio theaters challenge their musicians, actors, and designers to stretch. It’s not a safe crowd‑pleaser — it demands innovation, adaptability, and courage. Audiences who attend know they’re in for a theatrical ride.
Third, Candide allows local talent — whether in university theatre, regional musical or opera companies, or summer festivals — to engage with a work that bridges classical music and musical theatre. It attracts hybrid audiences and broadens the appetite for musical experimentation.
Finally, the Ohio versions also serve as conversation starters: Which version is “the real” Candide? Should we privilege Voltaire’s dark spirit or Bernstein’s musical exuberance? How do modern sensibilities reinterpret satire from centuries ago? The productions invite the audience into that debate.
A Closer Look: Memorable Moments from Ohio Productions
To bring this alive, here are some moments and scenes from Ohio’s stagings that drew particular attention:
- In the OLO production, the tango “I Am Easily Assimilated,” sung by the Old Woman (Alexa Devlin), was a highlight: witty, rhythmic, and emotionally layered.
- Chelsea Miller’s performance of “Glitter and Be Gay,” with its demanding ornamentation, stood out for both technical brilliance and dramatic commitment.
- The use of ensemble movement and clever staging when full choreography was not feasible — e.g. hand movements in unison — allowed the production to maintain dynamism even in constrained space.
- In reviews of OLO’s production, critics applauded the set design: the flexible platform and arches that reconfigured the stage, plus projected scenic backdrops that evoked place without heavy scene changes.
- In OSU’s concert approach, the decision to run without intermission and to update parts of the text was bold. That the production acknowledged the risk of audience drop-off or controversy made it more compelling.
These moments show how Ohio’s creative teams didn’t just attempt Candide — they responded to it, reshaped it, and gave it local texture.
Lessons & Takeaways for Future Candide in Ohio (and Beyond)
From the Ohio experience, a few guiding principles emerge for any theater company considering Candide:
- Choose your Text Wisely
Given the many versions, decide early: do you lean toward comic, operatic, philosophical, modern updates? The choice of text sets tone and pace. - Balance Humor and Heart
Candide works best when satire doesn’t flatten human experience. Let moments of sorrow, loss, and redemption breathe amid the absurdity. - Invest in Casting & Music
You need voices who can shift between lyricism, comedy, and diction clarity. The orchestra must handle Bernstein’s layered score with precision. - Use Flexible Design
Modular sets, projection, convertible platforms help traverse many settings without disruption. - Pace Intelligently
Don’t let act two drag. Trim dialogue, tighten transitions, ensure momentum remains. - Lean into Relevance
Satire thrives when it finds contemporary echoes. Updating selectively or emphasizing certain themes helps the work stay alive. - Engage Hybrid Audiences
Because Candide straddles musical theatre and opera, marketing should draw from both audiences and build bridges. - Own the Finale
“Make Our Garden Grow” — the closing chorus — must land with sincerity and emotional resonance. All the comedy and spectacle should lead into it.
If Ohio continues producing Candide, these lessons help future stagings remain ambitious, coherent, and resonant.
Conclusion
When CandideinOhio — whether at a university, a festival company, or a regional theater — it becomes more than a performance. It becomes a dialogue: between the satire of Voltaire, the musical genius of Bernstein, and contemporary audiences seeking to reconcile hope and irony in a complicated world.
Ohio productions have shown ambition, creativity, and courage. They’ve managed the structural complexity, cast the vocal demands, and navigated version choices with local flair. In doing so, they remind us that Candide remains alive — not as a dusty relic, but as a work that can laugh and gnash its teeth, provoke and console, all in the same breath.
In the heart of the Midwest, in auditoriums filled with students, opera lovers, and curious theatergoers, Candide has found new life. And when it works — when the overture soars, the satire bites, the voices soar, and the final chorus unites hearts — it affirms that the “best of all possible worlds” is not an idea to accept blindly, but a challenge and a question to wrestle with on the stage and in the mind.
