No 37 -- Summer 1991 Edited by Michael Walters
I expect few people will have heard of Ravenshead, a "yuppie" town mid–way between Mansfield and Nottingham. It is a friendly new town, springing from a tiny village which used to be called Fishpool, until someone in authority (I don't know who) decided this name was too down–market. The residents try very hard to cultivate a community spirit, and they have a well–attended church, a lively drama group, and a flourishing Gilbert & Sullivan Society which I have supported for many years. The Village Hall is not the ideal place in which to perform an opera. Its octagonal shape gives it no depth, and the seating capacity is only 120. The stage is fairly small, with little room in the wings. Indeed, performers have to run outside the building to get from one wing to the other. There's no room for an orchestra, either, so two pianos have to suffice.
Producer Ron Walker admits that he has never seen a D'Oyly Carte performance in his life, which means that his audiences always get a fresh and original approach. Knowing the limitations of the hall he tries, through often ingenious direction, to turn them into virtues. I particularly liked the way he used the entire auditorium for his entrances and exits; and I was most impressed with the sensitive way he handled the "embarassing" treatment of Ruth by the Pirates in Act 1. He placed all of the pirates stage left, and they whispered the uncomplimentary remarks out of Ruth's earshot. For once I felt that women's libbers had nothing to complain about!
It did not worry me that Nick Harmer (the Sergeant) was rather young, or that some of the daughters appeared older than their father, for in a small society one has to use the resources at one's disposal. The creditable feature was that everyone approached their roles with enthusiasm and conviction. Mike Lee was a bluff, matter–of–fact Major General, Steve Cox (Pirate King) was reminiscent of Stan Laurel [The mind boggles! MPW]. Stephen Walker (a baritone) was an enthusiastic Frederic, but had trouble with his top notes. Jo Lee was very convincing as Mabel, and Sandra Eagling, who bears a strong resemblance to Mrs. Thatcher, played Ruth in a tender–hearted way, so that one really felt sorry for her.
On the debit side, I was unimpressed with the new electronic piano which the Society had purchased. On the evening I attended I felt the player was experimenting with the numerous sounds, which distracted my attention from the stage. Neither was I impressed with the "extra" music and business which Ron adds to the score. A hornpipe in the middle of the opening chorus did not improve the number; and neither did the umbrella ballet, which the daughters delightfully twirled in unison (except for one unfortunate daughter) pretty though it was.
J. STUART BRADSHAW
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