A Trio of Sullivan

Tettenhall Operatic Company’s Summer evening entertainment showcased three one-act operettas by Sullivan, offering a distinctive performance that delighted their loyal audience of opera lovers. Although Cox and Box (1866), The Zoo(1875), and Trial by Jury (1875) each have different stories and settings, all three are filled with continuousmelody. Originally written as curtain raisers to precede longer Victorian works, these one-act pieces all feature music by Sullivan; however, only Trial by Jury has lyrics by W. S. Gilbert. Francis Cowley Burnand wrote the lyrics for Cox and Box, while Bolton Rowe provided those for The Zoo. 

Congratulations to the director, Julian Souter for producing all three operettas that relied on clock workmovement of the performers; split second comic timing and infusing the stage with constant energy and visual moments, some of which may have presented challenges on a limited  stage in Codsall(like staging a suicide attempt into a, ‘Closed for Repairs,’ bear pit or courtroom battle).High praise to Julian for maximising tight stage spaces and cleverly managing the transitions from a small cast in Cox and Box, to an ensemble chorus in lively openings.  Julianalso found time, in what must have been a heavy commitment as director, to also appear on stage for all the shows even taking the major role in Cox and Box as Bouncer! With support from Jane Souter, as codirector, this was a very pleasant evening’s entertainment, with the first two Acts stylised of the Victorian era and  appeal sustained  for the audiencefor the entire programme. Juggling co-direction and music directing was a massive undertaking also, so well done too to Jane Souter for leading and accompanying rehearsals for Cox and Box and wielding the baton as MD for the performances.  

Terry Green was the MD for The Zoo, and Trial by Juryleading the 5-piece orchestra with precision, and those on stage with a sure hand; his affection forGilbert and Sullivan shone through, bringing out the nuances of the operatic score with its harmonies,vocal richness and energetic tempos. This music was written for full orchestras, but the five-piece ensemble performed musical wizardry and covered multiple bases to capture Sullivan’s musical phrasing while ensuring the audience heard every single syllable of the lyrics. Costume choices, including footwear, were a triumph and captured the Victorian era superblywhich added visual clarity to the performances of Cox and Box and The Zoo. The set, lighting and special effects are accredited to,’ Mystical production Events.’The set design was deceptively simple but effective in all three productions and invited the audience’simagination into each space on the relatively smallstage. 

The first operetta,’ Cox and Box,’ was set in Sergeant Bouncer’s lodgings and featured just three characters. The set was simple and functional. Bouncer rented the same inexpensive room to two lodgers: Cox, a hatter who was out all day, and Box, a printer who was out all night. Much of the humour came from their frantic near misses as they changed shifts. When they finally met, they sang, “Who are you, Sir?”, which both performers delivered brilliantly. The operetta endswhen Bouncer saves Cox and Box from marriage to Penelope Ann, and the two men discover they are brothers. The plot is farcical but tuneful, with humour drawn from absurd lyrics sung with operatic seriousness, including a lullaby to a rasher of bacon. Julian Souter played Bouncer, the rogue landlord and retired military man, covering up his double-rent fraud by distracting his tenants by singing, “Rataplan”,bringing a booming, resonant vocal presence and masking Bouncer’s panic with military swagger. Adrian Peakman played James Cox with meticulousdetermination, vocal richness, and crisp diction. Stephen Harper portrayed John Box in a melodramatic style, singing with precision and charm. All three performers did a wonderful job with this piece, written for three male voices; they delivered perfectly balanced vocal lines, with no one drowned out, and maintained tight, frantic, musical timing. 

The opening scene in,’ The Zoo,’ saw the chorus in vibrant and varied Victorian costumes strutting their stuff in the bright outdoors of the Zoological gardens in London while a distraught apothecary, Carboy, tries to hang himself because he thinks he inadvertently poisoned his sweetheart’s father with a mislabelled prescription. Later he leaps into the pit in a dramatic suicide attempt, only for the plot to reveal that the bears have been temporarily relocated due to renovation work. Scenic elements included a refreshment stall (Eliza Smith’s domain), stocked with pastries, tarts and ginger beer. The Bear pit was positioned at the side of the stage. The stage design enabled group movements from the chorus. It was a ridiculous, melodramatic action of a man trying to hang himself next to a pastry stand, while a chorus of onlookers demands he explain himself before doing so. Carboy was played by Stephen Harper, who hasexcellent patter ability and a rich tenor voice as well as a melodramatic flair of a silent film star. Eliza Smithwas performed with great confidence by Jane Souter, devoted to her pastries and the zoo animals, commanding the stage when she sang. Her musical moment was a rapid-fire counterpoint duet with her suitor, Thomas Brown. While Thomas sings of his lovewhilst Eliza rattles off a rhythmic catalogue of all the food he has been eating to impress her. Thomas Brown (the Duke of Islington in disguise) was played by Adrian Peakman with equal conviction. He tried to impress Eliza by eating a huge amount of her baked goods until he passed out. Adrian is a baritone and his voice has a rich, warm tone. He navigated fast paced songs that required great rhythmic precision. Laetitia, Carboy’s beloved, was played by Phaedra Brickwood,who was fighting against her father’s refusal to marry a pharmacist. Her characterisation reflected her to be both passionate, flirtatious and petulant. Phaedra’ssoprano role was expressive and her songs allowing emotional depth; her voice elevated to operatic style and was sweet as she wandered round the zoo believing her lover had committed suicide; an impressive performance overall. Mac Hammondappeared as Laetitia’s father, a retired grocer, who represented rigid Victorian paternal authority and class snobbery. Mac’s booming character and his baritone voice, with an imposing stage presenceensured appropriate casting. The chorus acted as nosy, highly opinionated Victorian park goers. There was no lack of commitment and enthusiasm on stageand the opening number,’ The British Public’ was rousing, harmonious and well performed by all. 

Trial by Jury was set in modern day attire and is a send-up of the judicial system, featuring a corrupt judge, self-important court officials, and exaggeratedadversaries. This Gilbert and Sullivan collaboration presents a satirical breach-of-promise lawsuit. Gary Gentle played the Learned Judge, who admits that he rose to success by courting, then abandoning, the wealthy attorney’s elderly daughter. During the trial, he flirts with the bridesmaids before deciding to marry the Plaintiff himself to settle the case. Gary showed strong comic timing, portraying a man who treats the courtroom as his personal playground. His solo, thefast-paced storytelling number “When I, good friends,was called to the bar,” demonstrated his skill in delivering a patter song with flawless diction. Phaedra Brickwood was a vivacious Plaintiff, the jilted bride suing her former fiancé for breach of promise. She moved convincingly from weeping victim to calculated, dramatic flirt as she won over the judge. Phaedra gave a sparkling soprano performance, soaring through Sullivan’s music with clarity and a bright vocal sheen, especially in her pristine high notes. Tenor Jamie Cranham played the fickle groomwith energy and conviction, attempting to defend himself by offering to marry Angela only if he could marry his new love the following day. Mick Branghan gave a robust performance as Counsel for the Plaintiff, while Greg Instone brought authority and solemnity to the role of Usher. Mac Hammond was formidable in his role of the Foreman of the Jury, expressing the jury’s adoration for the Plaintiff and fury towards the Defendant. Christina Clifton and Suzanne Holt were the bridesmaids, actively flirting with the jury and performing “Comes the broken flower”. Their light, soprano and alto lines blended beautifully in sweeping, layered harmonies. Overall, the performance of this opera was very strong, with finesinging, effective vocal blending and lively pacing. 

These three operettas complemented one another beautifully, and the small (but to full capacity),appreciative audience responded with enthusiastic applause. Congratulations to the entire Tettenhall Operatic Company, including director Julian Souter and musical directors Terry Green and Jane Souter for their hard work in delivering a highly entertaining evening and bringing two of Sullivan’s lesser-known works vividly to life. Thank you for inviting me. 

© NODA CIO. All rights reserved.