Voice-wise those who remained from the Ruddigore cast seemed to have had lessons. Michael Welsh, I would still not class as a tenor but then Ernest is quite suited to a high baritone and the cotton wool had disappeared. However, he appeared unable to stand still when singing. The other surprise was Helen McGinnity who suddenly seemed to have acquired a most pleasing, non-screeching, clear soprano voice. She also managed a very pleasing mock German accent both in speaking and singing; an accent which she managed to sustain right through the evening. It was a pity that she could not keep her hands still but this did not seem to matter. Jean Harvey was much better suited to the Baroness although her voice was still a little too lightweight for the part especially in her act 2 drinking song. The chorus looked very happy and sang well. The chorus of chamberlains complete with brooms and long aprons etc., was one of the funniest things I have seen for ages. The producer had made several cuts. All allusions to Troilus & Cressida had been done away with and therefore there was no change of costume in Act 2. The second verse of the Duet for Rudolph and the Baroness was cut as was the second verse of "big bombs". The entire "what's the matter" section of the Act one finale was transformed into prose. The wild dance was performed as an introduction to Act 2 as the chorus dusted and cleaned the entrance hall of the ducal palace. Ludwig then entered to deliver his recit. as prose before going straight into "Take care of him". Julia lost her mad scene, but the three "lost songs" were included. In this opera I do feel some cuts are justified although I cannot say that I agree wholeheartedly with all those that were made on this occasion. I was sorry to lose the Greek costumes and also "As before you we defile" and "At the outset". However, in defence of the cuts I would say that the opera was performed in one of the most delightful, fast moving and intelligible amateur G&S performances I have ever witnessed. Superb sets and costumes were made by the company. IAN BOND

[David Taylor "Our man in Brixham", also saw this production, and sent me a programme and a photocopied libretto with comments, and cuts and alterations indicated. I am transcribing these as sensibly as I can, without reproducing the lib. as well. The lost songs were with the original Sullivan orchestration, courtesy of John Wolfson who owns 'em, and I suspect that many of the cuts were at his recommendation as well, I know for example, that he hates both the Mad scene, and the Greek element. Ed.]

15 piece band and piano - poor string tone but you got used to it. Overture was lousy but they got better, or I got anaesthetised. They were also too loud for some soloists. Chorus had great enthusiasm, but words were not always clear. Lisa (Jacqueline Prowse) tended to sing flat especially in Act l finale, but otherwise a typically "wet" soubrette character. Ludwig (Anthony Constantine) Excellent. Had a reasonable voice and a marvelous stage presence. He was a bit slow in the opening but v.good for the rest. Ernest. Good acting but what a pity he is not a true tenor. His upper register was really not up to the part. Julia. Spoken throughout with an Anglicised German accent, but a good voice. [In fact, there is nothing in the libretto to tell one that it is traditional for Julia to speak with a German accent. Ed.] Notary (Andrew Pryce) he played this scene ("my goodness me, what shall I do") like a demented penguin: "About, a century since” ditto; only this time molto. Quintet: Good blend of voices in this. Entrance of Rudolph: Could have come straight out of Monty Python, but it worked very well. I'm not sure they didn't sing "pig" [i.e. instead of "prig". They very probably did. Ed.] Rudolph. Pity the part is so small. One feels WSG could have developed the character much more. Sid Nuttall did a grand job with just the right amount of humour and pathos. I bet he's make a good Jack Point. Baroness. Another good actress but voice too weak to penetrate the wall of sound arising from the band. Prince. John Richardson made a fine Prince. Good singing especially in the Roulette Song. Princess. Well, a bit older than 2l, which was rather off-putting, I will say no more. Unaccountably there were seven theatrical-looking nobles, not six. Costumier. Played in rather bad taste as a Jew. [The character is, of course, Jewish. Ed.] The cloak striking at the end sounded like a tin that had been struck by a spoon. [David finishes off by giving same thoughts on the opera, and thoughts for improving it. Ed.]

DAVE TAYLOR'S THOUGHTS ON THE GRAND DUKE.

Some of the music is very good and quite up to AS's usual standard. The plot is really not well developed and WSG. seems to have been undecided as to which bits were important. I don't think the opera is rescuable in its present form but I am sure that some one with an extensive knowledge of WSG's other libretti could produce a viable plot based on this with the original music that would be as successful as (say) Patience. Some of the subplots would have to go. My own view is that the Baroness could be omitted completely, bringing forward the entrance of the Prince & Princess to the beginning of Act 2. Development of the Duke's part could be included with a trio scene for Duke/Ernest & Notary in Act 2 after Ludwig has married the Princess. i.e. Act 2 would become: Opening / Scene with Prince & Princess culminating with wedding of Ludwig and Princess / Julia soliloquy/ Scene with Julia, Liza & Ernest/ Trio, in which they find the answer to the Ace high question/ Finale. [Several attempts have of course been male before to straighten out the rather tortuous plot of this opera, notably by John Wolfson and David Eden. The first of the two productions of the Lyric Company of Washington in the early sixties, I think, included the Capital Plot number from Utopia as a trio for Ernest, Rudolph & the Notary. Ed.]

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