Princess Ida

I was pleased to attend the Hereford Gilbert and Sullivan Society’s recent production of Princess Ida, an operetta that is rarely staged but richly deserving of attention. Judging by the frequent laughter throughout the auditorium, this view was widely shared. I attended the matinee performance with several audience members who were partially sighted or hearing-impaired and made use of the theatre’s in-house aids; their enjoyment was particularly evident.

The opening ensemble was delivered with precision and energy, with imaginative choreography and effective use of props enhancing the humour and establishing a standard that was sustained throughout the production. The striking costumes, particularly the vibrant purple gowns, were beautifully complemented by expertly designed lighting, creating a visually impressive stage picture.

King Gama’s costume was particularly noteworthy and, as Alan himself remarked, he bore a striking resemblance to King Richard. The three warriors must be congratulated for their performance whilst wearing cumbersome armour for most of the show and yet still managed to add choreographed moves with alacrity. 

Each principal member shone in their individual role, and there was not a miscast performer in sight. Ian Roper delighted the audience with a cleverly executed routine in which he alternated between two cards throughout a song, to great comic effect. King Hildebrand was portrayed with regal authority and a wonderful vocal performance, while Alan Durman was superb as King Gama, once again treating the audience to an outstanding patter song that incorporated topical themes and provoked much laughter.

The supporting roles were played with great humour by Richard Hichens, Kevin Tillet and John Watkins as the aforementioned warriors. Peter Miln and Ian Roper were well matched as Cyril and Florian, the King’s companions, with Peter Miln delivering particularly amusing facial expressions, especially when adopting the role of a young lady. Ed Boreham was an excellent leading tenor as Prince Hilarion, the male love interest betrothed to the formidable Princess Ida. Tasked with winning her over, he performed with assurance, and his lovely tenor tones carried his songs beautifully.

The ladies excelled in their portrayals of strong‑minded libertarians, evoking the spirit of the Pankhurst movement and the fight for votes for women of the period. Laura Harrison was the feisty titular character and certainly commanded the stage with her presence. Lady Psyche was beautifully portrayed by Hannah Rope-Smith, and the formidable Lady Blanche was played by Gill Haslam, and I would have been extremely disappointed if Gill had not been cast in this role. The three ladies led the merriment with great effect conviction and determination. They were ably supported by Fliss Falconer, Giselle Pearson, May Gardner and Lucy Walden is smaller yet no less important, roles, and their vocal contributions were a pleasure to hear.

The principal characters displayed faultless harmonic balance, underscoring the cast’s professionalism. The ensemble singing and choreography were of a consistently high standard, with particular mention due to the youngest cast member, whose assured characterisation, precision, and evident enjoyment were remarkable. It was regrettable that her fellow performer was unable to appear due to illness, and one hopes both will continue to develop their evident enthusiasm for Gilbert and Sullivan. It was equally rewarding to see the older young performers on stage clearly relishing their roles.

The sound balance was exceptional, ensuring complete clarity of both speech and song, while the orchestra supported the cast without ever overpowering them.

My sincere congratulations to the entire cast and production team; however, particular recognition must go to Alan Durman, whose inspired artistic direction brought this production vividly to life.

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