I came prepared for an interesting evening, what I did not expect was that I was going to spend the afternoon painting scenery, that before the performance I would have to make up two of the actors, and would also be asked to take part in the production by singing the Usher's "echo" from the back of the hall. I felt very pleased at being asked. The May Week concert is an annual event that takes place in early June (something to do with the revised calendar, but how Gilbert would have loved it), and is staged at one end of the dining hall at Peterhouse, suitably tarted up for the occasion. Trial formed the second half. The first half consisted of a short piece by Reinecke, a couple of part songs by Delius, and Mozart's Piano Concerto in A major, K488. In the latter, musically the best item of the evening, Timothy Hone was the soloist. There was then a supper interval, followed by Trial. Anders Bergquist, the producer, worked wonders in staging the piece at the top end of a dining hall, with High Table (a massive structure which had been built in situ and could not be taken out) as a permanent feature. The solution was to pile horizontal flats round it and have the jury box on top! Selwyn Tillett sang musically, and with very clear diction, as the Judge, but made little attempt to sound old, and the box of female make-up with which I was asked to "do" him, made all my attempts to make him look old, futile. Stephen Perrins brought bouncy whimsicality to the role of the Defendant, and a somewhat wolfish sex appeal. As his opposite number, Jane Lumbard made herself appear sufficiently downtrodden to gain the audience's sympathy. Tony Pitcairn sang mellifluously as the Usher, but was low on characterization, and did not know his words. John Lotherington coped splendidly with the Counsel. If his voice has not yet developed the vocal dexterity which Sullivan demanded, he nevertheless sang with a very attractive tone, and gave a very good rendering of the "rococo" aria, "With a sense of deep emotion" - one of Sullivan's most difficult songs. The piece was performed without a conductor in front (which would have been impracticable) and Timothy Hone, directing from one piano (assisted by David Finlay on another) had trouble at times in keeping the proceedings together. The musical structure fell to pieces in places. Although it was far from the best Trial I have ever seen, it was tremendous fun, everybody enjoyed it (which was the object of the exercise before an invited and uncritical audience who were only there for the food & wine), and on a total of one and a half rehearsals it was an achievement of an outstanding order. MICHAEL WALTERS

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