No 39 -- Winter 1992–3 Edited by Michael Walters
Normally, I would regard it as unethical to write a review of a production in which I was involved, but in this case, prompting from out front (from backstage one gets a very different impression of a production than one does from the front) I think it may be justifiable.
Initially, I had grave misgivings about the concept of doing a G&S production in the round, but in the event it worked brilliantly, and was one of the best Geoids productions I have seen for a long time. This was in great part due to the enthusiasm and energy level, which was something quite new to this Society. In the past, Geoids productions have tended to opt for "dignity", and become rather pallid copies of the professional style. That is really not what amateur drama is all about. This production, frenetic and vital, was the sort of production one normally only expects from college and university societies.
The strength of Craig Norman's production, unconventional though it was, was that the business arose out of the text, and was not, as are a great many modern G&S productions, packed with extraneous gimickry. Moreover, most of the business was reserved for the chorus scenes, and the principals for the most part left to sing their solos and deliver their dialogue sensibly without silly and distracting gimmics being foisted upon them. The only thing about which I retained some purist doubts was in having the Policemen's chorus composed of women, but this was only because it required a redefinition of Sullivan's music, and an alteration of the actual harmonies due to the parts being sung by voices different from those for which they were written. I was frankly surprised that the MD, Mark Stringer, had not objected to that one. Dramatically, however, the idea was brilliant, and worked exceedingly well.
It was a happy "in" joke, to have the venerable Ted Wood (who now walks with some difficulty and a stick) portray a pirate in a bathchair wheeled on by the rest of the cast, but able to wield a sword with the rest of them – a piece of surrealism it is true, but utterly in keeping with the rest of the production. In the same vein the pirates and police concealed themselves behind the flimsiest branches of greenery during the Major General's "Softly sighing". During this number, several of the pirates danced an absurd ballet la Southgate's production of His Excellency, though I understand the producer had not seen that show. Not original (I have seen the same idea before in amateur productions) but very sound thinking, was to have several of the more mature ladies act as duennas rather than General Stanley's daughters.
Musically, the performance had a pace and a constantly forward–moving vitality which was a sheer joy, for which Mark Stringer (the best thing to happen to Geoids for a very long time) must be thanked. His energy, determination and good–natured encouragement drew from several of the cast performances I would not have believed possible. There were small slips by at least one performer at every performance, but in the context of the overall whole, these were of no importance, and the performance seemed to shrug its shoulders and carry on. In a performance of lesser calibre, they might have made one cringe.
Chris Gutteridge was one of the best Pirate Kings I have ever seen. Very tall, young and with a powerful voice combined with a captivating stage personality, he defined the character strongly but with charm and good nature. His Pirate King was straight up and down, the sort of fellow you'd be glad to have on your side in a tight spot. He also brought out the character's essential naivity in the sense of outrage he demonstrated when told by Frederic that the General has deceived him and is "no orphan". Barry Scott (Frederic) sang for the most part, beautifully, though with a tendency to shout some of his top notes, and he can sing quietly when he wants to. His dialogue was particularly good in the scene with the Pirate King and Ruth in Act 2, the emotion sounded really genuine.
Chris Jones gave a much better performance than I would have believed him capable as the Major General, though he cannot seem to cure the temptation to make a meal out of every line. This is counter productive in causing the text to lack light and shade. The NODA critic called it boring, but it was not, it was actually packed full of the unique and endearing personality which is Chris. A performance can only truly be said to be boring if you feel you've heard it all before, and that any run–of–the–mill person could have given it (I have seen many such performances). In this case, it must be admitted that no–one else on earth could possibly have played the part quite like that. Of Barbara Nicholls' performance as Ruth, one can only echo what was said of Rosina Brandram, the great contralto of Gilbert and Sullivan's own day, that everything she did was so "right" that one can do no more than record the fact. Jane Hobart (Mabel) was having unfortunate problems with her voice, resulting in a dryness of tone and on one night at least the loss of a whole run of top notes. She did not attempt the cadenza at the end of "Poor Wandering One" (nor indeed were any trills or decorations used anywhere in the score, no doubt the MD had his reasons for this?). However, dramatically she was superb. I will never forget the imperious way she said to the Police "He has done his duty. I will do mine. Go ye and do yours", and then swept out with a dignity born of umpteen generations of Stanleys.
Joanna Young (Edith) and Susan Ludwig (Kate) gave performances of some charm, but they seriously lacked confidence in themselves and in their voices, and the performances were erratic. John Terry was a most droll Sergeant of Police, but again seemed to lack a certain amount of self–confidence and kept glancing nervously at the conductor. No such self–confidence was lacking in Wally Lambert's no more than adequate performance as Samuel. The three policewomen (Beryl Hyde, Kim Insley and Pauline Kennedy) kept the audience rolling in the aisles. MICHAEL WALTERS
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