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Princess Ida

Author: Julie Petrucci

Information

Date
14th June 2017
Society
Cambridgeshire Light Opera Group
Venue
Downing Farm Swaffham Bulbeck
Type of Production
Musical
Director
Lynne Bullen
Musical Director
Angela Roebuck
Choreographer
Lynne Bullen

'Princess Ida' is new to me.  One of the lesser known Savoy operas by Gilbert and Sullivan it satirises Victorian society’s preoccupation with women’s education. 

Unusually this operetta is split into three acts.  Set in vaguely medieval times, it tells of Princess Ida, daughter of King Gama, who has been betrothed since infancy to Prince Hilarion, son of King Hildebrand. The operetta opens in Hildebrand’s castle, and is standard G&S, with laughs, puns and lively tunes. It gives plenty of space for frivolity and entertainment as Hildebrand sets out his stall, complete with the  promise of battle if Ida doesn’t show up.  The likelihood of battle only increases with the arrival of Ida’s trio of warrior brothers and then King Gama himself. The  problem for Hilarion’s marriage intentions is that Ida has not only taken up philosophy but has foresworn the company of men and set up a female-only college at Castle Adamant which she has no intention of leaving – let alone to get married. While the two kings and the brothers want to slug it out, Hilarion and his pals Cyril and Florian are rather more taken with the idea of a castle full of maidens. They set off to Adamant intent of changing Ida’s heart with love alone.

 Acts two and three are set in Castle Adamant where ladies are being expelled for the heinous crime of bringing in a set of chessmen and a power struggle appears to be in progress between Principal Princes Ida and her number two Lady Blanche.  Meanwhile Hilarion and his chums sneak into the castle and dress up as maidens.  Of course they are discovered.  However, when King Hildebrand and his soldiers and King Gamma and his sons also arrive it looks like becoming violent. Ida though concocts a plan for a hockey stick war coupled with eye-flashing and sharp words - not something the other women are keen on!   Naturally there is a happy ending.  

Musical Director Angela Roebuck lead a tuneful and well-balanced orchestra who did full justice to Sullivan's music.   After a sprightly overture we enjoyed some memorable and wonderfully tuneful numbers which showed Sullivan at his best. The Finale to Act 1 was particularly good with the chorus singing superbly. The rest of the opera is vintage G&S with numbers including several arias and duets.  Although Gilbert’s rather silly plot is not one of his best the performances more than made up for it.

The production was a bit static, but this was largely because so many of the chorus were on stage for so much of the time.  However, Director Lynne Bullen created some good groupings ensuring strong visual staging enhanced by the superb costuming for which she was also responsible.   I should also commend the super lighting by David Stubbings and his team and the excellent make-up, particularly for King Gama. 

Gerard Chadwick was in top form as King Hildebrand as was Geoff Reed as this show’s “patter-man” the misanthropic King Gama: proving with "If You Give Me Your Attention” he was indeed “a disagreeable man."

Gavin Jarvis incomparable as Hilarion was in extremely fine voice and, together with his companions Cyril (William Hale) and Florian (Tim Winn), created a brilliant team.  This triumvirate brought out every ounce of the humour in their roles.  Breaking into Castle Adamant (“Gently, Gently”) and dressing up as maidens was very funny. Three excellent performances.

I felt for Gamma’s three warrior sons John Yates (Arac), Owen Johnson (Guron), Steven Aronson (Scynthius) who were called upon to move and sing in what appeared to be full metal armour on a very hot evening.  However they managed admirably.

The title role was in the extremely safe and skilful hands of Caille Peri she was wonderfully imperious and her opening aria, Minerva! Oh hear me was superb. 

Sally Goldsmith was also in splendid form as Lady Blanche, the lecturer on abstract philosophies and perpetrator of many convoluted conundrums which she enunciated superbly.

Sian Dowson was in equally fine of voice as Lady Psyche, the humanities professor. Both ensured that the internal politics of Castle Adamant are well brought out.

Lizzy East was impressive as Lady Blanche’s daughter, who falls for Florian. 

There was solid support throughout the chorus, with Helen Bryant and Ruth Dennis adding strong voices in minor named roles.

 Accolades though must go not just to the wonderful performances and musicians but also to the team who create the auditorium in the barn at Downing Farm.  Attention is paid not just to the excellent stage settings but also decoration front of house.  The Swaffham Bulbeck Summer Theatre’s annual productions are strong in all areas with outstanding efforts from all involved. This was certainly an entertaining production which had something for everyone. 

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