I SHOULDN'T think previous directors of Duchy Opera shows have cited their influences as David Bowie, Manga, Marvel comics and Sonic Youth.

But Keith Sparrow – who sings in a glam-punk band in his spare time – isn't your typical opera director.

He's taken the usually refined company and dragged them kicking and sotto-ing into the 21st century (well, 1989 to be specific).

Franz Lehar's fluffy piece from 1905 is now updated to the year the Berlin Wall fell, with all the action set in Maxim's naughty cabaret bar.

The design – scarlet and black decor and clothing – recalls everything from Cabaret to A Clockwork Orange and the cult rock opera Hedwig And The Angry Inch (now, I really would like to see Keith direct that one).

Keith may have made this a highly stylised Merry Widow but there was no messing with the music.

The trio of musical director Paul Drayton on piano, Lucy Jenkins on violin and Naomi Johnston on cello were superb throughout and there was no faulting the performances of the leading players.

With roles that called for just as much acting ability as musical, they were testament to the talent in Cornwall.

Who needs Covent Garden or the West End when you have Philip Cade's delicious turn as Maxim's down-at-heel owner Baron Herzog, or Cheryl Brendish saucing it up as his flirtatious wife Natalia, all basque, powerhouse voice and audience-teasing?

Kieran White as lovesick puppy Camille, professing his love for Natalia, looks like the singer in an emo boy band, but surprises with his accomplished tenor.

Ian Kinver – well known to theatre audiences in Cornwall for his appearances with Truro and Redruth amateur operatic societies – gave his first performance with Duchy Opera and shone.

Hugely likeable as Danilo, the cultural attaché to East Berlin, who the Baron begs to rekindle his romance with Anna Kaufmann, the widow of the title, Ian proves as successful in operetta as he is, say, in The Full Monty.

Rebecca Moon, who has recently performed professionally for Opera North, was wonderful as the merry widow, wrapping all the greedy, lusty men of Maxim's round her little finger and dealing with Danilo with a twinkle in her eye. And what a wonderfully pure voice.

The production – which has toured the length and breadth of Cornwall – has already been reviewed more than favourably in these pages by Eric Dare, our doyen of all that is classical and opera, but it deserves more praise from someone who wouldn't know their arse from their aria.

For this is opera for those who "don't like opera". I'd like to thank Keith and the company for opening my eyes and ears.

What next, Semele set in an inner city brothel?