H. M. S Pinafore in Concert

HMS Pinafore the first comic opera by William Gilbert and Arthur Sullivan to become an international sensation opened at the Opera Comique in London on 25 May 1878. It ran for 571 performances. Like many works from this famous collaboration, issues raised and mocked at all those years ago seem to be equally relevant today.

However, this was the first time I had ever seen this comic opera performed in the concert genre.

The story of HMS Pinafore is well known and this production kept to tradition that was appropriate. The comic opera has nine principal parts plus the traditional chorus of sisters, cousins and aunts and sailors made up from a HMS Pinafore Choir who joined in the main chorus numbers from upstage referring to printed words or music.

Colin Wilson as the Rt. Hon Sir Joseph Porter was convincing in both his acting and singing. He delivered ‘When I was a Lad’ with gusto and the humour needed for the role.

There was strong singing from Lynne Leggat who played the part of Little Buttercup, with appropriate facial and body language that was essential for this character. Equally fine singing came from Kier Home as Ralph Rackstaw. Always a pleasure to listen to.

Our ‘villain’ Dick Deadeye played by Bob Sulzbach once again showed what a good character actor he is and I enjoyed ‘Kind Captain I have important information’ very much.

Special mention must be made Mike Barker as the Boatswain and Michael Steele as the Boatswain’s mate for their singing of ‘A British tar’.

 Add to the line up Mike Niles as Captain Corcoran and Melanie Plowman-Cobb as Josephine, the principal line up was well defined.

Melanie Plowman-Cobb’s voice suited the role of Josephine perfectly and she delivered both songs and dialogue with ease, mastering the high notes with confidence and ease. Well done.

The chorus line, in simple yet effective costume at the back of the stage gave strong vocal support to the action being portrayed by the principal characters although it was noticeable that not all members of the company knew their words at times and constantly had their heads in their scores. There were times however when their engagement with action on stage could have been greater and their interest appear more in evidence. This though is a small point indeed.

The minimum set on this show worked very well with the Orchestra appearing to be in a lifeboat at one side of the stage. It was well dressed and props although again minimal worked well. Making use of the elevated section of the hall also worked well giving the audience an alternative aspect to the action.

The Orchestra, again minimal, under the baton of Colin Wakely, sounded good and were a joy to listen to from the overture to the final bars. On the whole tricky harmonies were well executed and for me, the opera, performed in concert mode, worked well. A brave decision which paid off and I very much enjoyed.

Thank you for your hospitality and care, it was very much appreciated.

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