Hell hath no fury like a soprano silenced. At least that's the impression I got listening to duelling divas Penny Shaw and Fiona Cooper Smyth as they engaged in a deadly game of one-upmanship (or should that be updivaship?) during this hilarious, overstuffed (in a good way) hour of opera, operetta, musical, pop favourites and multiple costume changes - DivaLicious-style.
Here was a quite insane - now that I come to think of it - musical melange that ranged from the sublime to the ridiculous. And not only were Cooper Smyth and Shaw vying for the audience's attention to the point of planting themselves on men's laps, they were also vying for the affections of baritone and straight man Robert Hofmann, who took it all in his stride. As if long-suffering accompanist David Wickham didn't already have enough to worry about.
I'm not sure even Mozart, who was no angel, could have envisaged the famously difficult coloratura Queen of the Night's aria from The Magic Flute being sung with thrusting hips and bosoms as added emphasis.
Nor do I remember Papageno singing: "My life will all run amok/unless somebody gives me a . . . kiss." Maybe Robert Hofmann remembers it differently.
And who could have envisaged Lehar's Velia from The Merry Widow being graphically and naughtily played out with Barbie and Ken-type dolls? Or Andrew Lloyd Webber's Inside My Mind including two sleep-walking sopranos slowly divesting themselves of their pyjamas?
Seriously though (well, almost), DivaLicious was all good, clean fun, with plenty of fine singing and playing from all concerned and serious repertoire (Puccini, Mozart, Delibes and Bizet were especially well-served) balanced by lighter numbers from Spamalot (Song That Goes Like This), Cabaret (the very saucy Two Ladies) and a gorgeous rendition of popera favourite, Nella Fantasia.
It was, however, the finale which stole the show, as DivaLicious, dressed in wedding gowns and rejoicing having escaped marrying poor Mr Hoffman (it's the thrill of the chase that matters most, after all), celebrated by swiftly changing gears from Handel's stately Zadok the Priest to the same composer's bouncy Halleluiah chorus.
Which morphed into Abba's Mamma Mia. Which morphed into Queen's Bohemian Rhapsody, replete with air guitars.
Not even the Nessun Dorma encore could top this.