The Gondoliers

Celebrating 100 years of E.D.G.A.S, the ever popular operetta ‘The Gondoliers’ was chosen by the company as their centenary production. Although I have seen ‘The Gondoliers’ several times and have indeed performed in it three times, there was a definite freshness and exuberance about this quite spectacular production.

A colourful, eye catching set depicting the Piazzetta,Venice and an excited chorus of contadine led by Fiametta (Emma Lawson), Vittoria (Annabel Hamid), and Giulia (Leah Kincer-Christie) all eagerly awaiting the arrival of the two gondoliers Marco and Giuseppe, got the show off to a  flying start. The bright, lively somewhat lengthy opening number ‘List and Learn’ immediately demonstrated the strength of the solo and ensemble singing which was first class throughout.

Antonio (Andrew Crawford), Francesco (Kai Yao), and Giorgio (Ross Main) were well established characters, a little upset that they and their fellow gondoliers ‘The merriest fellows’ are being neglected as the ladies wait for Marco (Theodore Rankine-Fourdraine) and Giuseppe (Sebastion Davidson) who have come to choose brides. This duo made an excellent pairing both completely at ease with a great rapport and excellent singing voices. Marco’s ‘Take a Pair of Sparkling Eyes' and Giuseppe’s ‘Rising Early in the Morning’ were delightful.

After playing a game of blind man’s buff, Gianetta (Louise Martyn) and Tessa (Angelique Celine) are the chosen brides. Both brought a genuine, bubbly youthfulness to their roles. Tessa’s ‘When a Merry Maiden marries’ was sung with real charm and feeling while Gianetta’s ‘Kind Sir, You Cannot have the Heart’ was absolutely captivating These two couples were an absolute joy to watch and listen to and were absolutely convincing as youngsters in love portraying their delight at being married but also their frustration at finding out that all is not plain sailing and that there are complications. ’In a contemplative Fashion’ was a real gem.

The arrival of the penniless Duke and Duchess of Plaza-Toro, their daughter Casilda and Luiz their ‘suite’ puts a real spanner in the works as Casilda was betrothed as a baby to an unknown prince. This ducal party was a strong team of experienced and accomplished players who had returned for the centenary production. Ian Lawson was splendid in the role of Duke. Sprightly, animated and somewhat pompous he gave a most polished performance. Fiona Main, his dominating wife extracted all the comedy from the role and left us in no doubt as to who was the boss in their marriage. Their duet ‘To Help Unhappy Commoners’ with its witty lyrics and topical references was very well delivered and received.

Gillian Robertson brought fun and humour to the part of Casilda. Coquettish and saucy at times but also outraged that she had been married as an infant as she is madly in love with Luiz, a simple drummer boy played with great charm by Peter Cushley. Both Casilda and Luiz have stunning voices and their duets ‘Oh Rapture, When Alone Together ‘ and ‘There Was a Time’ were memorable.

The Grand Inquisitor, Don Alhambra who was responsible for mixing up two babies and unsure who is a prince and who is a gondolier, tries to explain the difficulties to all involved. Simon Boothroyd was a most majestic Don Alhambra with a commanding stage presence and impeccable diction. The quintet ‘Try We Life-long’ was excellent with the voices blending beautifully. The truth of the baby mix up is eventually revealed by Inez, the babies nurse, and Carol Macbeth narrated the tale clearly.

One comes to expect superb solo and ensemble work from E.D.G.A.S. and once again they did not disappoint. Well balanced ensemble work was maintained throughout with the finale of Act 1 especially uplifting. The strong male chorus was in excellent voice at the opening of Act 2 as footmen doing their various chores in the Palace of Barartaria. The company was in fine voice and light footed in the rousing ‘Dance a Cachicha’ with glitter balls and sparkly confetti creating a real party atmosphere.

A very fine orchestra supported the musical numbers and were a real pleasure to listen to. All of the cast were fully engaged at all times and used the stage well. The set and costumes, especially in the second act were resplendent and were enhanced with some exciting lighting.

This was a marvellous production where all the stops had been pulled out to make this centenary production something special and it certainly was.

A well-deserved accolade was given to Alan Borthwick who has directed E.D.G.A.S for 35 years and who is now stepping down. His productions have always been most impressive and I am sure he will be a hard act to follow.

A thoroughly enjoyable centenary production.

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