Joy Unbounded

This G&S show consisted of a performance of Trial by Jury in Act 1 followed by  assorted songs  from the other G&S operas in Act 2.

The evening began with a highly authoritative Richard D'Oyly Carte, beautifully portrayed  by Peter Leith, complete with stentorian tones, introducing himself and outlining how Trial by Jury came into being.   As we all know his genius was not only to be a man of vision, but to be responsible for the bringing together of Gilbert and Sullivan and of keeping their diverse personalities working so fruitfully together for so long.

Trial was well cast with the strong voice and personality of Joe St. Johanser dominating as the lecherous Learned Judge.   Tessa Lawn (Angelina, the Plaintiff) was tearfully played with her lovely soprano voice soaring above the piano accompaniment.    Kevin Wood's caddish bravura as the unrepentant Defendant and his rakish manner contrasted wonderfully well.   Nigel Hendley had good clear voice as Council for the Plaintiff.   John Beavis (Usher) had a pleasant voice, but lacked a little oomph.    Lloyd Walsh  (Clerk of the Court) did well as did Sid Dolbear as Foreman of the Jury who was cheekily lecherous and with some amusing facial expressions.    Gill Eve, Eleanor Hegarty and Maeve Hegarty were all pretty as Bridesmaids in their cinnamon / pink dresses.    Their accurate singing swelled the soprano sound when standing downstage.

The jurors were of both sexes borne of necessity, as is common in amateur theatre.   However the usual OTT antics expected of them were much in evidence.   Imagine a Trial by Jury routed in reality;  how boring could that be?

The tricky Nice Dilemma chorus was delivered faultlessly; this is not always achieved and shows that the music under Musical Director Selena Hegarty, was will learned.

There were some clever bits of business in several of the scenes - That she is reeling and I love him , I love him were humourously portrayed end the joyous ensemble Oh joy unbounded which ended with the lecherous judge winning Angelina's hand contained all the necessary laughter and gaiety of this joyous romp.

Jo Silcox (Director) and Selena Hegarty (Musical Director) should both feel well satisfied with the result of their sterling work.

Act 2 consisted of 14 songs from the G&S repertoire featuring 12 members of BLOS well supported by the company.   It was again introduced by the magnificent Peter Leith as Richard D'Oyly Carte joined by Daphne Leith as Helen Lenoir (later Helen D'Oyly Carte), played with suitable seriousness and good clear diction.   Many non G&S buffs do not realise the importance of Helen in the story of G&S and of how her supreme diplomacy and business skills kept the two vastly different personalities working so successfully for 25 years in all.   This was well brought out by Carte himself and Miss Lenoir and set the scene beautifully for what was to follow.

Lloyd Walsh opened with Captain Corcoran's song from HMS Pinafore "My Gallant Crew good morning".   The sailor's cap belonging to one of the crew was worn back to front and the sailor's moves lacked cohesion, but it was well sung.     "Sorry Her Lot" was sung hauntingly well by the accomplished Tessa Lawn and the trio "Never mind the Why and Wherefore" was nicely worked.

Another highlight was the trio of men singing "Every Maid is the Maid for Me" from Princess Ida.    This number in "drag" was vocally and comedically top quality.     Kevin Wood, Lloyd Walsh were the two tenors and Joe St. Johanser as the baritone, oddly wearing what looked like a Pirate King's wig.

"Dance a Cachucha" (The Gondoliers) and "Eagle High" (Utopia Limited) were well sung by the company.    "Eagle High" has absolutely no relevance to the plot of Utopia Limited,  but is one of its vocal highlights.

The audience were encouraged to join in three of the chorus numbers and most knew the finale "When the foeman bares his Steel" (Pirates of Penzance).    The musical director sang Mabel from the "pit" so to speak in this wonderful scene and "Away Away" went the whole company for a well earned rest.   This famous scene was an apt finale to a highly entertaining evening.

Though there were one or two ragged edges in Act 2, including a mistake given in the date of The Mikado (1885 not 1881) - I felt that this was merely a slip of the tongue as the show had clearly been well researched.    Jackie Shearer the Act 2 director should be satisfied indeed.

David Mortimer stoically played for the whole show entirely on his own.   He is an accomplished accompanist and showed us why.   The excellent wardrobe was provided by Jenny Hasted. 

Thank you very much for the invitation to review.

© NODA CIO. All rights reserved.