Reviewed by Ewart Shaw, Thursday 23rd April 2015
Over the years the Gilbert and Sullivan Society of South Australia have produced the Savoy operas on many occasions, with the exception of the last one,
The Grand Duke, or the statutory duel. They then started to add musicals by other composers, such as Offenbach and
Lionel Bart with the same high production values and musical excellence that we have become accustomed to find in their shows.
This time they are presenting a repertory of three under the
G&S Fest umbrella title:
Princess Ida for three performances,
Ruddigore for three performances, and the ever popular
HMS Pinafore for four performances, all in the Arts Theatre. On this first night they presented
G&S Fest: HMS Pinafore. They have decided that these operettas are to be presented in a semi-staged format, with the orchestra on stage, the bulk of the chorus, dressed in black at the back of the stage, and the costumed and directed principals up front.
There are some interesting benefits to be gained from this approach. If you move all the action to the front of the stage, you don't have to provide business for the chorus, you don't have room for dancing and, whether the performers are wearing mikes or not, it is easier to hear what they're saying. This is particularly important in Gilbert and Sullivan because Gilbert is a very funny writer, with a fondness for puns and some trenchant criticism of the British social structure of his day, which still rings true in the 21st century.
Director, Peter Hopkins, who plays King Hildebrand in Princess Ida, is blessed with a first-rate cast, but there are two additions to the production that should be pointed out, one of which is a very clever attempt to solve one of those Gilbertian conundrums, and the other of which is entirely unnecessary.
During the overture we witness a conversation between a young girl who wants to trace her family history and her father who encourages her to visit the genealogy society in Norwood, whose banner is displayed on stage. She has discovered a mystery in the family tree which can only be traced back to 1890. There is a mist of stage smoke and she seems to be transported back to the deck of the ship.
The other innovation makes a certain amount of sense, if you want Gilbert and Sullivan to make sense. In order to elucidate the mystery of the identities of Ralph Rackstraw and Captain Corcoran, Little Buttercup, the bumboat woman, and bumboat is not a reference to the traditions of the navy as evoked by Churchill, explains in the original that when she was young and charming she practiced baby farming, a sort of live-in child care, and accidentally switched the babies. This would mean that Ralph and the Captain would have to be about the same age, and Ralph is courting a woman young enough to be his daughter. Furthermore Captain Corcoran would eventually pair up with Buttercup, a woman at least fifteen years his senior.
In this production the role of Buttercup is taken by Tahlia Rees, who is too young to have been the originator of the mix up, and a change to the text, and a little scenario on the prompt side, tells us that her mother was the woman responsible.
For those who are always content to ignore such aspects of chronology in operetta time, this is unnecessary but some people do like things neat and respectable. Hopkins has also decided to play Gilbert's text relatively straight, which means that the pointed comments on status and relationships come across really clearly. There is no hamming for cheap comic effect.
This is most clear in Andrew Crispe's Captain Corcoran. He has excellent diction and delivery, and presents an elegant figure in his naval uniform. He also delivers his big solo
Pale moon to thee I sing, bright regent of the heavens, with unforced musicality and some lovely pianissimo singing.
Andrew Turner is Ralph Rackstraw, foremast hand and suitor to the Captain's daughter Josephine. A highly experienced baritone, he recently s made the break to singing tenor, and recently performed the role of Don Jose in Carmen for Opera New England. His vocal production seemed and sounded tight in the first act but warmed up in the second, and has an edge to it that cut through in the ensembles. How the new career develops only time will tell.
Nicholas Bishop is sir Joseph Porter KCB, the man who became First Lord of the Admiralty by not rocking the boat politically, in a well articulated performance free of slapstick and buffoonery.
Sarah Jane Pattichis, as Josephine, is a real find, with graceful stage craft and a really beautiful instrument, lovely in tone and colour, and very free in the demanding vocal writing.
As I mentioned Tahlia Rees, as Buttercup, is younger, in real life and stage life, than usual for the role, but is energetic and sings really well.
Nicholas Coxhill, as Dick Deadeye, is, in keeping with the overall restraint of the production, played less as pantomime villain than a man with serious acceptance issues, but when the sailors taunt him, they actually become quite brutal, tying him up and then throwing him overboard. He is rescued by one of the chorus of sisters, cousins, and aunts.
Ian Brown is sturdy as Bill Bobstay, the bosun' in the ensembles, and is well supported by Zachary Kelty as his mate.
The one drawback of the staging is that
Rebecca Walker's orchestra is a little smaller than I would have thought you could place in the Arts Theatre pit, and the violins could do with a few more players but, in general, the principals and she keep well together.
The comedy comes across neatly, the music is delivered with confidence and the evening is entirely enjoyable, with the production values of costumes, set and lights that are a hallmark of the G and S society. If they ever wish to do The Grand Duke, I have some ideas and would happily discuss them.
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