Gipsy Love

Every available seat in the hall was occupied for this opening performance of this semi-staged production of the operetta, Gipsy Love, performed by this company previously, ten years ago and, in 2005. It has some attractive melodies and with some impressive singers on the scenic backdrop on stage, it promised to be an entertaining evening. Director, Julian Souter helped to secure the audience’s engagement by maintaining pace, with seamless changes between scenes and some developed characterisations that were easy to follow. This three-act operetta didn’t have too many complicated scenes and the plot was clear. It did have a fair number of duets and some tender moments were delivered by key principals most effectively with their amazing voices and expressions. Whilst movement on stage by the cast was restricted by limited space at times, it was thoughtfully staged by Assistant Director, Jane Souter. There was plenty of colour and style in the costumes which enhanced the performances; and the orchestra was glorious with uplifting sounds.

The music was conducted by newly welcomed MD, Edd Caine, energetically. Sitting on the front row, I felt almost part of the sextet of players, fully immersed in the unique sounds from the woodwind. The overture was jaunty and jolly, and Edd kept the pace for all, whilst playing on the keyboard himself. Once the singing on stage commenced there were times when the orchestra was noticeably louder than the soloists in Act 1, yet the chorus, which was smaller than usual, sounded robust and cohesive, and the quality of the entire cast’s singing remained audible. Edd’s ability to multitask throughout this evening was awe inspiring. He played the keyboard; led the orchestra and provided assurance and lead to the onstage performers.

The story begins with the celebration of the engagement of Sir Peregrine’s daughter, Miranda, to Lawrence, son of Lord Lyell. Antonio, with a group of fellow gypsies join in the celebrations. Miranda and Antonio are secretly in love with one another, but she feels unable to break the ties that bind her to her family and position. Lord Lyell is hostile towards the gypsies and demands they leave even though Sir Peregrine allows them to stay on his land. Miranda is unhappy at the prospect of marrying Lawrence and expresses her dissatisfaction with her forthcoming betrothal. Meanwhile Sir Peregrine is determined to get closer to Lady Phoebe, a guest at his party. Lucinda, his younger daughter has chosen as her boyfriend, Oswald Oliphant. Miranda is forced to choose between Antonio and Lawrence. She chooses Antonio and they make their escape protected by the gypsies, much to the horror of the families. In Act 2 Antonio’s former gipsy lover, Dilaia is jealous of Miranda. Miranda hasn’t taken to gipsy life as she had expected. She manages to persuade Antonio to marry her both in a gipsy ceremony and in church. The gipsies can now celebrate two weddings. Sir Peregrine and his household arrive; they had been looking for Miranda, but they have had an accident with their coach now lying in a ditch. The innkeeper is questioned about Anthony and Miranda, but he is part of the gipsy conspiracy of silence and gives nothing away. Lord Lyell and Lawrence appear on the scene. Lord Lyell meets Ria, the Queen of the gipsies, to try to get Miranda back. He warns her that if the wedding between Antonio and Miranda goes ahead it will be much worse for the gipsies. Ria announces there will be no wedding and Miranda is distraught. In the final Act, back in Sir Peregrine’s Garden there is another party to celebrate the reunion of Miranda and Lawrence. Their love has been born anew. Plans are in place for two other weddings; Lucinda and Oswald as well as Sir Peregrine and Phoebe who have also decided to marry. Antonio makes a final appearance to explain to Lawrence that he was forced to abandon Miranda. Lawrence recognises that gipsy love has a kind of nobility and Antonio sings of its joy and pain and thrill.

Julian Souter was ideally cast as Sir Peregrine Plomley and delivered this role in a theatrical fashion; animated and facially expressive, vocally strong and suitably self-assured. Lydia Goodall was perfect in her role as Miranda; her voice exquisite, every note she sang had effortless sparkle and clarity; her performance captivating and delightful. Christina Clifton took the part of Lucinda so wonderfully too. Her singing was beautiful with a rich, full tone, and her interactions with Oswald Oliphant amusing.

Nina Branaghan brought the role of lady Phoebe to life, showcasing a clear voice and elegance to the part. Dilaia was characterised actively by Jane Souter, who has a powerful voice with a wide range, able to reach both high and low notes confidently. Sue Rogers presented a solid performance as Ria, the gypsy queen and adopted a commanding stage presence. It was joy to hear tenor Adrian Peakman in role as Antonio; his controlled tones were effortless and his overall delivery unfaltering. His duets with the character, Miranda, were closely harmonious and held our attention. Mac Hammond was most fitting as Lord Lyell; his voice as good as ever, while his acting displayed all the polish brought by years of experience. Congratulations to Mick Branaghan for his performance as Lawrence Lyell, the duet he sang with Miranda, “Love is the key,” was a triumph and carried well in Act 1. Gary Gentle, played the role of Oswald Oliphant creditably, demonstrating his singing talent too, in,’ Kissing Duet.”

Supporting roles, worthy of mention include Grey Instone as Pringle; Vi Hurdley as Kathy and Andy Cholerton, who characterised the innkeeper role so naturally. Chorus members too were fewer in number than previous productions but had evidently rehearsed regularly to enhance the brilliance of the composer’s music.

The finale was lively and full of cheer; the entire production worthy of the rapturous applause it received. The cast and crew had clearly worked very hard. It was a most enjoyable musical experience. Thank you for inviting me.

 

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