THE GONDOLIERS

THE GONDOLIERS

Opera della Luna at the New Wolsey Theatre, Ipswich

09.05.2014

for The Public Reviews

The Venetian Initiative sees Opera della Luna, that iconoclastic, hugely entertaining pocket opera company, taking the Gilbert and Sullivan gospel into the community. In its most ambitious venture yet, with Arts Council funding, they are recruiting a team of young music-theatre performers for each venue, opening in Ipswich before moving up for a week in the Lowry, Salford.

They've chosen The Gondoliers, the last of the Savoy Opera successes, richly scored, with a clever blend of satire and Latin charm.

Perversely, perhaps because this is basically the production Jeff Clarke did for Buxton a couple of years ago, they've chosen to play it relatively straight. None of their usual spin, no googlies, little of their traditional invention born of necessity.

Money has been well spent. We are greeted with a familiar Venetian skyline, gondolas in front, lovely flown pieces of architectural detail, and a stage filled with those “roses white and roses red” which will spell out not only the names of favourite gondoliers, but, cheekily, AMORE, OMG and more. And for Act Two, after a protracted interval, a gloriously baroque Barataria, gilded mouldings and a magnificent throne, which swivels to reveal the Inquisitor's torture chamber for the dénouement.

The frocks are fabulous, too – the Duchess's generous gown, needing a divan all to itself, traditional garb for the nobs, but a more modern look for the contadine: flowery prints with matching galoshes [Venice being wet underfoot, presumably].

The opening sequence is splendid, with the gondoliers in sexy dark glasses given some impressively macho dance moves.

Elsewhere the inspiration is uneven: the jointly ruling monarchs – sharing the role and the regalia – were a tad dull in their “pleasures of a king” number, but the rhythmic boot blacking and spud bashing works wonderfully for Take A Pair Of Sparkling Eyes. Good use is made of freeze motion moments.

It is a great cast: Greg Castiglioni as Luiz, the rightful king, and Victoria Joyce in fine voice as his Casilda. Stephen Brown and Robert Gildon make likeable republican royalty, with Maria Jones and Lynsey Docherty strongly characterized as their feisty rustic wives.

Traditional G&S performances from Kristin Finnigan as an imposing Duchess [her big number a highlight] and Carl Sanderson as a very British hidalgo. Opera della Luna favourite Ian Belsey does not disappoint as Don Alhambra, the dialogue and the vocals richly relished, wearing the kind of character slap you don't see so often nowadays.

The locally sourced chorus fill the stage nicely, and are given dance routines and individual characters to work with.

Perhaps not “travelling with a full band”, but an excellent palm court pit ensemble, with director Jeff Clarke at the piano as usual.

On opening night there were one of two glitches and uncertainties, and the lighting was patchy. It's a big production for Opera della Luna, and will bed in nicely at the Lowry, I'm sure.

Musical theatre has an enthusiastic following amongst young people. Fuddy-duddy G&S less so. This laudable initiative aims to redress the balance. But I still can't help thinking that a less straightforward treatment, perhaps along the lines of their catwalk Mikado, might be a more accessible way into the Savoy canon.

photograph from the Buxton production

this piece first appeared on The Public Reviews

THE MIKADO

THE MIKADO

Opera della Luna at the Civic Theatre Chelmsford

31.03.2014

for The Public Reviews

The Mikado was always a fashion statement. All things Japanese were the rage in 1880s London, and Liberty's, no less, dressed the original production at the Savoy.

So absolutely appropriate that Gilbert's tale of the cheap tailor turned executioner should start in a sweat-shop, complete with treadle sewing machines, and feature gorgeous frocks, designed by Gabriella Csanyi-Wills. Katisha's Act Two creation, Yum-Yum's gowns and Koko's Gaultier-inspired kilt especially eye-catching. The sets, too, are stylish to a fault, with shadowy topiary figures for the Act II garden.

Jeff Clarke's witty and inventive re-imagining includes countless enjoyable details, as does the choreography of Jenny Arnold, who has also directed this revival. The opening sextet, the “schoolgirl photoshoot” - very Japanese, this – the tocsin Madrigal, the exhausting encores of the gardening trio, the tap-dancing finale to Act One, all come up fresh and funny.

Opera della Luna's Seven Savoyard Samurai do excellent work with their characters – John Griffiths is the Northern shop steward Pish-Tush, as well as a lugubrious Mikado, with his crime and punishment ditty updated to include graffiti artists, HS2, Jeremy Kyle and [un-named] Wynne Evans, whose skills would probably fit well into this company, if WNO could only spare him … Koko's lost lists now include the SNP as well as the aromatherapists. He's played by Richard Gauntlett, rather as Joe Pasquale might tackle the role, if he had the voice. Physically very funny, with lots of adlibs [“wake me up before you Koko ...”], designer costumes including that kilt, but a playing a mercifully straight bat for Tit Willow. Martin George - “born sneering” is an imposing Pooh-Bah, changing hats and robes to emphasise his multiple functions. The three little girls include Celena Bridge's beautifully sung Yum-Yum, Nichola Jolley's Pitti-Sing, and Louise Crane, sole survivor of OdL's first Mikado tour in 1998, as a lively Peep-Po and a formidable, elegant Katisha.

Sullivan's music is made over, too, with a clever reduction which features some amusing oriental percussion, but there are excellent straight vocal performances here, notably from a dashing Christopher Diffey as Nanki-Poo. And Katisha's two serious solos are beautifully crafted by Crane.

Opera della Luna's next G&S tour is to be The Gondoliers, opening in May.

this piece first appeared on The Public Reviews

PARSON'S PIRATES

PARSON'S PIRATES

Opera della Luna at the Civic Theatre

30.05.12

Jim Hutchon was in the 'Church Hall' ...

Directed by Jeff Clarke, the highly talented Opera della Luna took some liberties with Gilbert & Sullivan’s Pirates of Penzance and brought off a spectacular production without compromising the spirit of the original.

Called the Parson’s Pirates, the first half echoes the scene in a hundred church halls – “Let’s do a musical”. The Vicar (of St. Michael’s, Under-Ware!!) takes auditions from the congregation – a fine excuse for schoolboy jokes and a splendid feast of snatches from Mikado, Gondoliers, Pinafore and others. He assembles a basic company from the ill-cast hopefuls, and the second half is a truncated but beautifully-formed version of Pirates.

The Vicar (Richard Suart) casts himself as the ‘Modern Major General’ and, with an excellent baritone, delivers the patter song with clarity and finesse. The young male lead, Jeremy Finch, has a superb voice with a clear-cut compelling tone, while his opposite number, Helen Massey, hit the high notes with style and real authority. Somehow, the cast of six managed to replicate mass battles between the pirates and police, as well as a bevy of beauteous damsels.

Very effective small orchestra led by Jeff Clarke and costumes courtesy of Oxfam, Sue Ryder, British Heart Foundation and Age Concern – honest!

THE MERRY WIDOW

THE MERRY WIDOW

OperaDella Luna at the Civic Theatre

10.03.12

This popular company brought their Widow, typically pragmatic and slyly inventive, to a Civic packed with their fans [aka "Lunatics"]. Last month, Limassol ...

Lehar's music is given due respect by the eight singers and the colourful band; Jeremy Sam's translation adds an acerbic freshness to a tale that can often seem saccharine and quaint.

The production, by Artistic Director Jeff Clarke, was full of clever ideas, notably here the puppets in the pavilion and the amazingly supple Grisettes in Act III – remember we're looking at a company of eight, with just two women …

Jim Hutchon joined the Lunatics in the Civic Stalls:


The Lunatics were out in force on 10^th March in Chelmsford. These self-styled ‘groupies’ are followers of the glittering ensemble opera group ‘Opera della Luna’ and had gathered in a full house at the Civic for Lehar’s ‘The Merry Widow’.

After more than a hundred years in constant production around the world, it’s hard to imagine anything new can be got from this light-hearted work, but the verve, style and imagination of the group brought a freshness and sparkle to it.

An effortless Trevor Jary hit all the right notes as Count Danilo, the male lead, while his female counterpart with the voice of an angel – the eponymous widow – was Rhona McKail, employing a TOWIE accent to suit her humble origins.

The Director, Jeff Clark (who was also the MD) used his small ensemble of only eight with simple stylish backdrops to create sumptuous scenes of lavish decadence in the mythical pre-WW1 Balkan principality. The highly talented orchestra and cast brought out the drama, humour and tunes to create a whole new view of the work.

Shadow puppets in the summer house and blow-up dolls in a Can-Can are experiences which will live long in the memory.

THE SORCERER

Opera della Luna at the Civic Theatre

02.04.11

Opera della Luna have taken Gilbert's comic opera and fast-forwarded it to the 1970s, where its themes of free love and mind-altering substances feel very much at home.

We are at a garden fête, inside an impressive marquee. Before the overture is finished, we've had handbells and unrequited love, neatly symbolised by the vicar's panama hat.

The “pale young curate” in question was Philip Cox, by no means ancient enough, but very amusing, especially in his drug-fuelled infatuation with Alexis in Act Two.

Alexis was played as a groovy swinger – flared jeans, purple velvet, droopy moustache – by Oliver White, who managed his tenor arias with some style, too, even when hand-jiving, disco dancing and cavorting with his intended, Abigail Iveson's Aline.

The Sorcerer himself was Richard Gauntlett, and Mrs Partlett, mother of the rustic maiden Constance [nicely sung by Claire Watkins] was a hilarious Graham Hoadly.

Another Opera della Luna regular, Ian Belsey, was the funny old buffer Sir Marmaduke; Sylvia Clarke as his beloved had just the kind of rich, deep tone these roles demand.

The Ploverleigh Village Band was conducted by Artistic Director Jeff Clarke, who was also responsible for this inspired revival. The music was treated with respect, but not reverence, and the inventive staging and polished comic performances made for a disgracefully enjoyable evening.

HMS PINAFORE

Opera della Luna at the Civic Theatre

03.10.10

Opera della Luna's flagship success sailed back into the Civic last Sunday, to the cheers and whistles of the happy throng on shore.

A relatively traditional production of the G&S classic, it starts with an all-hands-on-deck overture, with drum, pipe, sheets, sails setting the nautical scene. The Lass Who Loved A Sailor was sung by Rhona McKail with a rich vocal tone; her Ralph, a common tar, by Trevor Jary. But its the character roles that hog the limelight here: Ian Belsey's pompous Captain, Louise Crane's perfect Buttercup, Carrie Ellis's subtly comedic Hebe, and Philip Cox's diminutive First Lord – every word crisp, every movement meaningful, hilarious in his barely suppressed desire to show Ralph the finer points of the hornpipe. And double delight from Graham Hoadly, as the grotesque Dick and Sir Joseph's singular Aunt, possibly from Brazil.

Some clever touches from director Jeff Clarke: the 6d sheet music for Oh Joy, Oh Rapture, and the opening of the second act, with a solo fiddle [Rachel Davies], Corcoran's pungent Navy Mixture, and his Fair Moon, a perfect parlour ballad.

The art of the encore was exhibited in Never Mind the Why and Wherefore, with Maestro Clarke spurring his forces on to ever more frenzied tempi.

THE SORCERER

[reviewed for The Public Reviews]

Opera della Luna at the Mercury Theatre Colchester

31.03.10

Was there ever a saucier Sorcerer ?
Opera della Luna have taken Gilbert's first full-length comic opera and fast-forwarded it a hundred years to the 1970s, where its themes of free love and mind-altering substances feel very much at home.
We are at a garden fete, inside an impressive marquee. Before the lively overture is finished, we've had handbells and unrequited love, neatly symbolised by the vicar's panama hat.
The “pale young curate” in question was Philip Cox, by no means ancient enough, but hilarious, especially in his drug-fuelled infatutation with Alexis in Act Two.
Alexis [now there's a Seventies name] was played as a groovy swinger – flared jeans, purple velvet, droopy moustache – by Oliver White, who managed his tenor arias with some style, too, even when hand-jiving, disco dancing and cavorting with his intended, Emma Morwood's Aline.
No slouch in the fashion department, the Sorcerer himself, J W Wells, in the safe Savoyard hands of Simon Butteriss, half hippy, half tradesman, tottering about on platform shoes. A witty, sharp characterization; how nice that in this version he's allowed back from Hell [ in a red crushed velvet costume ] for one last encore.
Another Opera della Luna regular, Ian Belsey, was the funny old buffer Sir Marmaduke, with Syliva Clarke as his Lady. She had just the kind of rich, deep tone these roles demand. Her poignant recitative ending with her handbag snapped firmly shut.
The villagers [no chorus, of course] were represented by Susan Moore's down-to-earth Mrs Partlett, her love-lorn daughter [Rhona McKail] and a very amusing Martin Lamb, who also played the notary.
Among the naughty liberties taken with the 1877 original were the knee-trembling antics during Aline's Happy Young Heart, rhyming “wet-look jeans” with Milton Keynes, and most glorious of all, the Act One finale, when the philtre starts to take effect: psychedelic lighting and an ensemble based on The Lost Chord, Sullivan's parlour favourite, written in the same year as the Sorcerer.
As ever with Opera Della Luna, the music was treated with respect, but not reverence, and the inventive staging and polished comic performances made for a disgracefully enjoyable evening.
The Ploverleigh Village Band, on stage throughout, was conducted by Artistic Director Jeff Clarke, who was also responsible for this version, probably the first professional production for thirty years.


Today, April Fool's Day, they're in Hayes.
Two mysteries remain:
Why can this enterprising and gloriously entertaining company manage a two-night run at other venues, presumably doing good business, while the Mercury's one measly night is less than half full ?
And why did we have a 20-minute delay - planned and apologized for, it's true ?
At least it gave us a chance to savour some of the tunes from "that infernal nonsense Pinafore" ...

this piece first appeared on The Public Reviews

DIE FLEDERMAUS

Opera della Luna at the Civic Theatre

13.02.10

No-one could accuse Opera della Luna of playing a straight Bat. This hot-off-the-press re-write, by Jeff Clarke, who also directed and played piano in the pit, bigs up the filthy language, soft-pedals the frocks and frou-frou.

Alfie, the heart-throb tenor [Gareth Dafydd Morris] spends much of his time in his boxer shorts, and wows his married lover [Mrs E from Down Under, brilliantly played, and sung, by Lisa Anne Robinson] with that other lyric populist, Andrew Lloyd Webber. And a laddish Eisenstein [Andy Morton] goes into rehab instead of jail.

The production was fresh and funny. There was furniture flying from the ceiling, there were polar bears at Orlofsky's. A constant stream of in-jokes, especially in the audition scene, kept us amused. And most importantly, Strauss's music was lovingly respected by the superb singers. In addition to those I've named already, we had that supreme Savoyard Simon Butteriss as an outrageous Prince, Helen Massey as a no-nonsense Northern Adele, and Philip Cox as Frank. His French double act with Morton was priceless, especially the Crazy Gang audience invasion which replaced the usual Frosch fun and games at the top of the Third Act.

Just the thing to bring new audiences to operetta, you might think. But at the Civic, at least, Opera della Luna, seemed to be playing to Fledermaus fans …

HMS PINAFORE

Opera della Luna at the Civic Theatre

25.10.01

Baldrick and Lady Bracknell in one evening ? A chance not given to many actors, but seized gleefully by Graham Hoadly in Opera della Luna’s sparkling pocket Pinafore at the Civic last week.

Eight singers and five musicians worked with enthusiasm and panache to give us the essence of G&S - doubling Deadeye with a formidable Aunt was just one ingenious example of making a virtue of necessity - I also enjoyed the Overture sequence, and the exquisitely Victorian opening to Act II, leading into the Captain’s equally Victorian ballad.

Ian Belsey was the middle class captain, with Joseph Shovelton looking and sounding just right as the patriotic pleb. Sarah Ryan’s pure, if slight, soprano was well suited to Josephine, and Louise Crane made a strong bumboat woman. The reliable David Timson gave a hilarious First Lord, true to tradition and relishing every word.

Not all conventions were ignored - the trio, with its encores, was only slightly sent up - but Jeff Clarke’s stripped-down version, which was first launched on the QE2, made the most of the ridiculous class-ridden snobberies behind Gilbert’s original libretto, whilst preserving the period charms of Sullivan’s music.