Princess Ida

On reading the very informative programme, Princess Ida was described as the “hidden gem in Gilbert and Sullivan’s crown”. I have seen many G&S operettas, but was new to Princess Ida, and, by the end, I agreed wholeheartedly with this statement. Quite simply, this performance by ENOS, left me feeling elated with the quality of this production, from the orchestra, set, cast and costumes.

It takes many facets to come together to achieve any production to this standard:

Castle Adamant, constructed by members of Brundall Men’s Shed, with its towering walls rising high to the upmost reaches of the Maddermarket stage, was stunning, with stone doorway effect entry and exit points to the stage.

The costumes were stunning throughout, and the cast looked magnificent in them.

Under the musical direction of Bernard Soper, the 7-piece orchestra sounded wonderful, perfectly balanced in volume with the vocals on stage. Following the orchestra’s overture, all that was left was for the cast to deliver. I was not disappointed. The whole cast delivered the tricky G&S script and songs to perfection, extracting every sinew of every line and joke to the audience, who were captivated. There were so many strong individual performances in this production, but I must make special mention to the members of the chorus, who, whilst spending a lot of time on stage when some of the principals were singing and acting, never switched off once, keeping up their reactions to the script and intermingling with each other in conversations, greeting each other etc.

I enjoyed the performance of the 3 warriors and sons of King Gama, Arac (Luke Davey), Guron (Martin Dyer), and Scynthius (Peter Ryden), marching in from behind the audience, clad in what must have been extremely hot warrior’s metal armour, and delivering “We are warriors three”. Closely followed afterwards by their Father, the grumpy King Gama (Edmund Ramsdale), this was the first of numerous outstanding characterisations and performances, an absolute masterclass in how G&S should be performed, and win new audiences, in terms of both the delivery of the script and the very tricky “If you give me your attention” and “Whene’er I spoke”. Rival King Hildebrand (Robin Richardson) was well cast as he dismissed Gama and the warriors to imprisonment.

The three courtiers of King Hildebrand, Florian (Thomas Monument), Hilarion (Andrew Inglis), and, marking his debut in a musical production, Cyril (Adam Bargemen), provided the bridge between the scenes in King Hildebrand’s palace in Act One, to that of King Gama’s Castle Adamant in Acts Two and Three. What a trio these made as they sang and acted with exquisite comedy timing. Their arrival at Castle Adamant, and to Princess Ida’s 100 strong women only University (with a syllabus that teaches their students how awful all men are), to then disguise themselves as women to remain conspicuous, set the audience up perfectly for the arrival of the Ladies of the University. Singing “Gently Gently”, and “I am a maiden, cold and stately”, led us to that moment where the two opposite sexes met.

Of course, these men needed to meet their match, enter Lady Psyche (Becky Pick, who delivered outstanding vocals throughout), and Melissa (Niccy Mills), who, along with Princess Ida (Kizzy Beckett), brought the level of performance to new heights.

The highlight of the show for me was the reaction of Melissa when she first realised that these “women”, were in fact the so called awful “men”, and, having never seen a man before, her grinning from ear to ear in delight with her attraction to them was pure gold.

Trying to keep things in order was Teresa Clayton as Lady Blanche. This was a further outstanding characterisation, fantastic dead pan timing and delivery. Sneakily plotting with Melissa to take over the University, with what she believed, was rightfully hers (“Now wouldn’t you like to rule the roast”).

Kizzy Beckett as Princess Ida was similarly outstanding, a beautiful singing voice and a tender sensitivity to the role ( “I built upon a rock”) as she balanced the situation put in front of her, of resistance against the invaders, against that of protecting her Father as Hildbrand’s warriors had invaded his castle.

My wholehearted congratulations to everyone involved at ENOS for this wonderful production, but, in particular, to Director Tim Hurst-Brown, for the amount of work that he must have put into every aspect from start to finish.

Thank you for a lovely evening, I can’t wait for Kiss Me Kate in 2026.

 

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