No 37 -- Summer 1991 Edited by Michael Walters
The G&S addict who resides in the Birmingham area need never be without a "fix". At least four societies including the Savoy, the Savoyards and the Quninton, never perform anything else and a considerable number alternate between G&S and operetta or musical comedy. Recently I have had occasion to observe different approaches by local amateur directors. In November 1989, Erdington Operatic Society brought Princess Ida to the Town Hall, Sutton Coldfield. Although twenty of their thirty previous productions had been G&S, this was their first Ida. Along with Utopia this is my least favourite. It is a veritable curate's egg of a work with delightful numbers interspersed with acres of boredom. That, at least, was my view until I experienced Colin Lapworth's production. Although he is basically traditional in approach, the whole evening was so full of life that it really worked for me this time. Colin, as usual, played the Grossmith part, making a brilliant and convincing Gama. He was supported by an outstanding cast, chorus and orchestra.
Susan Curry, whom I remember well as a pretty little teenager in the chorus of Carmen when I played Dancairo for the EOS in 1968, has blossomed into a truly operatic diva. The ladies of Castle Adamant were unfailingly well played, although the Melissa could have shown more sparkle. The versatile Paul Forbes showed what a gift of a part Cyril is to a tenor who has a sense of comedy combined with staying power. Only the next week he was to play Carboy for Tinker's Farm's The Zoo, and in February was delightfully sinister as Pang in the Royal Sutton Players' Turandot – which showed that it is possible to squeeze ninety performers on to the Town Hall stage.
As Gama's sons, Norman Wallace, Craig Docherty and Brian Stokes had the correct bass voices, but as none of them approached six feet in height could hardly be described as terrifying. Altogether a most satisfying evening – which is more than can be written of the Savoyards' onslaught on The Yeomen of the Guard. This was Michael Jefferson's first production for the Society and he must by now truly know what the ancient Israelites suffered when they were forced to make bricks without straw. As a Director Michael does not feel himself bound by the original script. He does not add his own dialogue, but enjoys "judicious rearrangement". So it was not at all surprising that Act 1 began with the chorus, and Phoebe's spinning song was postponed till Act 2, where it followed "Free from his fetters grim". My tickets were sold to me by John Rammell, essaying Meryll for the third time (each with a different society). This time he got both "A laughing boy" and "Rapture rapture". His fine bass voice rang out in the musical numbers, but his acting is more reliable than enthralling. He follows the "Noel Coward school of acting" – speak the words clearly and don't bump into the scenery! He was not helped by a pallid–voiced Dame Carruthers in Margaret Mullens. Sue Percy as his daughter sang and acted brillianly, striking just the right note of pathos or comedy as required. Her scenes with Roger Hewitson (Shadbolt) who devises amazing changes of make–up for every part – were well conceived and credibly played.
It was a pity about the men's chorus. Twelve in number, they were completely drowned by the orchestra of fifteen. It was in a pit. The Society's chairman (and inevitable leading lady) Janet James, did not suffer from that problem. Her sterling soprano could be heard whatever forces of chorus or orchestra were ranged against it. She retains her unfortunate habit of singing out of tune, though my wife and I can never agree whether it is flat or sharp. Neither she nor Ian James as Point convinced us that they could have made any sort of living as strolling players – but then they DIDN'T did they? Perhaps this was a subtle piece of characterisation by Michael Jefferson. Certainly it was the unfunniest Point I have ever seen.
A decade ago I was in the chorus of a production of The Sorcerer in which Derek Kingston guested as Alexis – he was just right for the part. Alas, THE YEARS have taken their toll. The once trim waist has disappeared under a certain – shall we say – portliness. This was not too obvious when in the Yeomen's uniform, but his final entrance attired in the bridegroom's white was surely not what Gilbert intended – it was frankly ludicrous. His top notes have now develloped a wobble which is almost a bray. Now is the time to concentrate on character parts.
The solution to the problem of whether Jack Point shall die or just faint at the end was approached by having him spend most of Act 2 helping himself liberally to the wine jug, eventually collapsing in a drunken stupor on the table (situated down stage right throughout the performance). After the fall of the curtain it rose again on a "freeze" with Phoebe pointing at Point, then all joining in a reprise of "When a Jester is outwitted". If only the whole cast, chorus and orchestra had matched the quality of the programme and the talents of the Producer it would have been an enjoyable evening, but an entire production should not have to rely on the talents of Phoebe, Shadbolt and Meryll – they are not on stage throughout, more's the pity.
TOM LEDGER
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