No 40 -- Spring 1993 Edited by Michael Walters
I came to this production with a certain sense of foreboding, for I had been told it was to be produced by a lady who made her debut with a very dull MIKADO at Exmouth in 1990 (which I did not see), where everything was taken from her late father's D'Oyly Carte prompt book, but often misunderstood. However, to my surprise, this production worked, largely due to the fact that most of the cast were able to sing and act intelligently, so the performance carried itself. There was no invention, the blocking and gestures were taken almost verbatim from the old D'Oyly Carte production, and thus there is little that needs to be said about Jane Edmund's production. The orchestra, under Diana Draisley, consisted of virtually full woodwind, piano, one horn, one trumpet (muted, I think), no strings except for a double bass, and percussion. This was a necessary reduction for a theatre where there was neither room nor acoustics for a full orchestra. I would have been dubious about the actual composition of the band, but in fact it worked quite well.
The sets were made by the Company, and were functional but not exciting. Act 1 bordered on the twee, with "grey" stone walls, meticulously executed but tending to pale blue rather than grey, and with a rose–pink front door to Dame Hannah's cottage. Act 2 was conventional – with room for only three portraits on the back wall, the rest of the ghosts entering from the wings. Margaret Thomson (Dame Hannah) sang with warm honeyed tone, spoke her lines with commendable naturalness, but looked far too young and charming. Madeleine Haydon (Rose) also sang and spoke with a directness and naive naturalness, though her diction was less perfect than the rest of the cast. Colds were running riot round the cast, many of whom were fighting them off. Andrew May (Dick) lost his voice completely by the last night, and mimed the part while Mark Perry sang the role from the pit. Ian Bond made a return to the stage after a long absence, as Robin. It was a finely tuned performance, erring only (perhaps) in there not being quite enough contrast between Robin's aspect in the two acts; Act 1 a little over–vehement.
John Stuart (Sir Despard) found an excellent blend of restraint and an undercurrent of melodramatic menace. It was the best "traditional" interpretation of the role I have seen for a long time. There was a thin cutting edge to his performance, not often seen. As Old Adam, Rod Stewart gave a very fine, honest, no–nonsense portrayal. Jane May (Mad Margaret) was perhaps too stylised in her first appearance; the acting was good, though surfacy. Andrew Sandilands took over the role of Sir Roderic at a few weeks notice owing to the illness of the previous incumbent. It was a performance I could not fault in any way, sung and delivered with a professional polish and suavity. The dialogue with Dame Hannah leading to the duet was deeply moving.
MICHAEL WALTERS
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