THE PIRATES OF PENZANCE [AUSTRALIAN VERSION]

THE PIRATES OF PENZANCE

Witham Amateur Operatic Society at the Public Hall

25.04.16


There've been some pretty rum Pirates since copyright expired back in the 60s. All-male, Papp on Broadway, The Parson's Pirates [my favourite, from Opera della Luna]. And earlier this month a splendid Steampunk version at Brentwood.
WAOS went for the Australian version, with some modern tweaks, especially in the chorus numbers, some added business and topical asides, plus a lively megamix finale.
All the messing about did little for me. It seemed designed for a different company, a different audience. The “orphan” joke was made even less funny by being interrupted, General Stanley's character was not improved by what the Pirate King called his “flowers out the jacksie” moment. And the Fabulettes [Stanley's daughters] were allowed to upstage Mabel's aria, and encouraged to flirt outrageously with Frederick, in direct contradiction of the libretto.
But a cracking pace and many enjoyable performances produced an entertaining evening of alternative G&S.
Mabel was excellently sung by Jessica Edom-Carey, well matched by the equally youthful Frederick of Thomas Pleasant. Their wonderful Act Two duet is still echoing in my memory. Tom Whelan's staunchly traditional Major-General took his patter song at a brisk pace, well sustained until the lame encore. David Slater made a flamboyant Pirate King in his burgundy trousers; Anne Wilson was a superb Scots Ruth, the piratical maid-of-all work. And Stewart Adkins excelled as the Sergeant of Police – an interpretation which was hilarious both vocally and physically – at the head of his cleverly choreographed coppers. The Foeman number was the best thing in the show.
Fine ensemble work from the pirates too, and from the whole company in the Ode to Poetry, mercifully unimproved. The Fabulettes – a sexy sextet of smokers in beehive hairdos, led by Emma Loring's Chardonnay – enjoyed some nice harmony work.
The design could have been Pixar, with the towering cliffs of books, and the costumes were bright and stylish – lots of butch kilts for the Pirates.
Thomas Duchan directed – he was in the pit, too, playing an unsubtle keyboard reduction. The excellent soloists not always best served by generous decibels from the sound system.
WAODS gave the show their all; a big, bold, irreverent take on a favourite Savoy Opera. But my advice to other societies would be save your money, stick to the original, or be like Brentwood, or Trinity, and steer your own course.

publicity shot: Nick Griffin

OLIVER!

OLIVER!

Witham Amateur Operatic Society at the Public Hall

02.11.13

Against a splendid period London panorama, the big ensembles were a highlight of Vikki Mundell-Poole's lively Oliver! for WAOS.

The well-drilled orphans [part-singing and fancy footwork] in their subdued uniforms, dreaming of Food, Glorious Food as the Beadle's feast was carried past under their noses; most of London's lowlife crowding the stage for Consider Yourself, with a Punch and Judy show squeezing in stage right; the different levels cleverly used for the cheeky knees-up in the Cripples; the maids with brooms for Who Will Buy; the tattered brollies for I'd Do Anything. All with pin-sharp choreography and tight ensemble singing.

Charlie Smith made an engaging Oliver [though perhaps not “in proportion”], excellent in Who Will Buy, and a plucky match for nasty Noah Claypole [Edward Tunningley]. If I were a starving urchin, though, I think I might have tucked in to that apple, and to hell with diction …

Fagin – convincing hair, beard and East London accent – was George Lambeth, at his best in the reflective Reviewing the Situation, his musings nicely matched by Sandy Tate's clarinet.

Robyn Harrington sang beautifully as Nancy, and stayed firmly in character throughout her big number.

Underworld characters Dodger and Sykes were confidently done by Max Lenoir and Patrick Willis – Lenoir with cocky charm, Willis with gravel-voiced menace and a casually violent manner. Qualities not shared by Maisie, his affectionate attack dog – though, like the chorus, she was well trained and gave a very professional performance.

A large supporting cast included Liz Watson and Tim Clarke as the disgraced workhouse management, Richard Herring and Deborah Anderson as the funeral directors, Alice Tunningley as young Bet, Ron Howe and Emma Loring as the charitable Brownlow and Bedwin, and Stewart Adkins giving a consummate character cameo as Grimwig.

A very effective, versatile staging, with the double death of Nancy and her Bill one of many striking stage pictures.

The band, under MD Geoff Osborne, were on top form throughout, and while we might have welcomed more extrovert energy all round, this was a most enjoyable reminder of Lionel Bart's one and only hit show.