June 13, 2011
From the opening scene, almost before a word was spoken, and well before anyone had burst into song, it was clear that this was going to be an entertaining, jolly show. The musicians, neatly tucked into the side of the stage, had struck up a lively tune; the set – a brightly lit, summery marquee, decorated for the pre-wedding feast of two of the protagonists, the young Alexis Pointdextre and his pretty bride to be, Aline, looked cheery and inviting; and the vicar arriving with his set of hand bells, and ringing them one by one in accompaniment to the music, raised a laugh within seconds of the show’s start.
As each of the actors arrived on stage and the individual quirks and comedic elements of their characters were revealed, it was a relief to quickly discover that each was a very competent, talented performer. Badly done, amateur Gilbert and Sullivan can be an excrutiating experience, but in this very professional, polished production, both acting and singing ability were in abundant supply.
The cast gelled comfortably together. The physical humour was played with ease, so whilst at times leaning towards bawdy, was never cringe worthy or crass, but always amusing. This version of the play dispenses with a chorus, requiring the limited cast to sing their own parts and to contribute to the group numbers. To be entirely honest, there were points when the lyrics were less than clear, but it really didn’t seem to hinder the plot, or diminish the enjoyment of what turned into a most harmonious, uplifting, on stage sing-a-long!
Great credit must be given to the choice of time period. In Gilbert and Sullivan’s original version, the setting would have been a rather formal Victorian tea party, but bring it into the flower power seventies and your costume designer can go crazy with lilac velvet flares, floral jumpsuits and dodgy facial hair. The premise of the play, that of casting a spell over all the village inhabitants, to make them fall in love, regardless of rank or wealth, translates perfectly into the hippy ethos of ‘free love’….man. As the party attendees succumb to the potency of the love potion-spiked tea they have all delightedly imbibed along with their scones and cream, the ensuing frivolity does turn pretty trippy!
Not being familiar with any previous versions of the play, it’s hard to know how much of the original score and lyrics made way for the clever adaptation of spoken text, libretto and songs, which gave this production such energy and accessibility, and much of its humour. I doubt very much that the word ‘Groovy’ was penned by Gilbert and Sullivan, and when the Sorcerer, amusingly attempts to dissuade Lady Sangazure from placing her affections with him, by imploring ‘Hate me – I’m moving to Milton Keynes’, it’s due to the skilful reworking by the modern authors, rather than his supernatural powers of seeing into the future, to know how funny this notion might be.
The actors seemed to be thoroughly enjoying this lively, energetic performance. They confidently delivered unfailingly amusing lines, looked great (as much as anyone can in blue sparkly platform heels), sang really well and particularly embraced the numerous opportunities for a good old boogy. Even die hard Gilbert and Sullivan traditionalists would have been hard pushed to say they objected to such a spirited, cheering, good looking, modern day production.
As each of the actors arrived on stage and the individual quirks and comedic elements of their characters were revealed, it was a relief to quickly discover that each was a very competent, talented performer. Badly done, amateur Gilbert and Sullivan can be an excrutiating experience, but in this very professional, polished production, both acting and singing ability were in abundant supply.
The cast gelled comfortably together. The physical humour was played with ease, so whilst at times leaning towards bawdy, was never cringe worthy or crass, but always amusing. This version of the play dispenses with a chorus, requiring the limited cast to sing their own parts and to contribute to the group numbers. To be entirely honest, there were points when the lyrics were less than clear, but it really didn’t seem to hinder the plot, or diminish the enjoyment of what turned into a most harmonious, uplifting, on stage sing-a-long!
Great credit must be given to the choice of time period. In Gilbert and Sullivan’s original version, the setting would have been a rather formal Victorian tea party, but bring it into the flower power seventies and your costume designer can go crazy with lilac velvet flares, floral jumpsuits and dodgy facial hair. The premise of the play, that of casting a spell over all the village inhabitants, to make them fall in love, regardless of rank or wealth, translates perfectly into the hippy ethos of ‘free love’….man. As the party attendees succumb to the potency of the love potion-spiked tea they have all delightedly imbibed along with their scones and cream, the ensuing frivolity does turn pretty trippy!
Not being familiar with any previous versions of the play, it’s hard to know how much of the original score and lyrics made way for the clever adaptation of spoken text, libretto and songs, which gave this production such energy and accessibility, and much of its humour. I doubt very much that the word ‘Groovy’ was penned by Gilbert and Sullivan, and when the Sorcerer, amusingly attempts to dissuade Lady Sangazure from placing her affections with him, by imploring ‘Hate me – I’m moving to Milton Keynes’, it’s due to the skilful reworking by the modern authors, rather than his supernatural powers of seeing into the future, to know how funny this notion might be.
The actors seemed to be thoroughly enjoying this lively, energetic performance. They confidently delivered unfailingly amusing lines, looked great (as much as anyone can in blue sparkly platform heels), sang really well and particularly embraced the numerous opportunities for a good old boogy. Even die hard Gilbert and Sullivan traditionalists would have been hard pushed to say they objected to such a spirited, cheering, good looking, modern day production.