No 37 -- Summer 1991 Edited by Michael Walters
This new production directed by Keith Warner is brimful of life, comic business and inventive choreographic routines which cannot fail to please. Throughout, the audience provides a ripple of laughter which more often than not breaks into waves of guffaws and applause. Musically and vocally this is a strong production. Marie Jeanne Lecca's set on first appearance is three flats concealing a series of doors and windows which is used to best effect in the opening of Act 2 and in the policeman's Chorus. The audience is viewing the action from out at sea; this is made more apparent when Major–General Stanley's daughters bring with them on their entry a series stones which are placed along the front of the stage. Paul Pyant's lighting designs, especially in Act 2, add greatly to the overall effect.
Gareth Jones's Samuel is Jewish. Malcolm Rivers is a suave, buccaneerting Pirate King, bringing a real "swing" to his solo. Philip Creasy's Frederic is rather dimwitted and much comic business is made of this. In the hands of Susan Gorton, Ruth is an extremely plain, almost ugly spinster and comical into the bargain. At the end of Act 1 she it is who discovers the document produced by the Pirate King in Act 2. Patricia O'Neill's Mabel is a comic heroine, but her act 2 duet with Frederic is sung seriously, making this scene the most poignant of the opera. As Major–General Stanley, Richard Suart is able to keep the audience giggling without even trying. He has great difficulty in finding a rhyme for "strategy". Dialogue which had been cut from the often/orphan scene, and the second verse of "Sighing softly" has been restored. Simon Masterson–Smith's Sergeant is a jolly, shortsighted individual. He retains his Cornish accent when speaking and singing.
DAVID SKELLY
[As will be realised, these reviews of David Skelly's indicate a very different opinion of these productions than those presented in GG 35. David also saw considerably different casts from those seen in London. MPW].
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