Trickery, adultery and frivolity dominated the plot of Franz Lehar’s comedic opera “The Merry Widow.” The performers of the London City Opera completely immersed themselves in their roles Friday at Stephens Auditorium.

“The Merry Widow,” a show that is a cross between a traditional opera and a typical American musical, takes place at the turn of the century when a wealthy widow, Hanna Glawari (Alycia Fashae), attends a ball thrown by Baron Zeta (Ralph Meanley). The widow attends the ball in hopes of finding a suitable prospect for remarriage.

All the men at the ball want to dance with the widow, and each man tries to persuade her to marry him, because it will entitle him to her vast fortune. The only man at the ball not after the widow’s money happens to be her ex-lover, Count Danilo Danilowitsch (Sam McElroy).

Meanwhile, Baron Zeta is oblivious of his wife Valencienne’s (Victoria Joyce) affair with a man named Camille de Rossillon (Adrian Martin).

The entire cast sang beautifully and intensely, especially the wealthy widow and Camille de Rossillon. The wealthy widow’s performance became more and more impressive as the night progressed. She used great expression and fervor when she sang and demonstrated a playful demeanor as she flirted with several men. Camille de Rossillon’s voice was entrancing.

Baron Zeta’s assistant, Njegus (Francois Testory), added much humor to the opera. However, as much as Njegus’s witty remarks added to the performance, his occasional muffled speaking detracted from the effect he could have had.

Despite splendid performances by the main characters, the most memorable moment of the show came in Act III during a scene where three married women flirted with Count Danilowitsch. The third woman to flirt with the count stole the show by executing her performance with extreme vigor and passion. She entered the scene by sneaking up on the count and discreetly grabbing his bottom. Then she pressed her body against the count’s as if to seduce him. Before leaving the scene, she hissed at the count like a cat ready to pounce, an act that drew a roar of laughter and thunderous applause from the audience.

Some of the choreography seemed to lack relevance to the time period in which the opera was set. At times, it appeared as though dance moves from the late 1900s, such as snake body rolling and breakdancing moves, somehow found their way into the traditional dances of the early 1900s.

One of the dances that stayed most true to the time period was the waltz, a dance which all members of the company performed quite gracefully and elegantly.

The overall performance of “The Merry Widow” was enchanting and enjoyable. The characters in supporting roles carried the opera by adding wit and passion to the evening.

Dana Schmidt is a freshman in pre-journalism and mass communication from Bettendorf