The Gondoliers

The Gondoliers is one of the favourites in the G&S cannon. This is a story set in both Venice, and the fictional kingdom of Barataria, an island, presumably in the Mediterranean. Both Giuseppe and Marco are declared King of this whimsical place because there’s some confusion over who really is King, which causes all kinds of upset. In typical G&S style there are misunderstandings a plenty and a great deal to sing about.

Giuseppe and Marco were played by John Reid and Matthew Bradley. I thought this pair worked well together and did a nice job of their performances. While I have seen John play many parts in various productions, I felt this suited him rather well. They had a lot of work to do in this production and they carried this off nicely.

Tessa and Gianetta were played by Jo Worton and Leigh Rhiannon Coggins. Their voices really brought the most out of the songs they were involved in and their acting was a pleasure to watch. They brought out a lot of the humour in the production and Leigh particularly got the audience chuckling with her portrayal on the night I visited.

The Duke of Plaza Toro was played by David Towers and it was a nice role for him. I felt that his interpretation of the character was pleasing to see. His Duchess, Lorna Kelly, was also well played and nicely sung.

The part of Casilda was nicely played by Angela Towers. It was interesting to see how her and the Duchess were to impress upon their guests the need to add dignity and decorum to their “style”.

Luiz was very well played by John Sutherland – he made more of the part than I have seen other groups do. Impressing us with his drumming skills and the the audience enjoying the secret romance between himself and Casilda.

Don Alhambra was played by Brian Lancaster – he was suitably mean and menacing and comedic to boot, giving us a taste of his awkward nature.

These were other named and chorus parts as well, who all did justice to their casting and played their parts nicely.

Lovely to see youths involved in this production – it’s not easy to keep Gilbert and Sullivan looking fresh, but the answer must lie in encouraging younger generations to keep up the traditions and run with them.

If you’re a fan of the musical side of Gilbert and Sullivan, the show is a real treat. There’s not a word of dialogue until a good half hour into the show, and the orchestration is lovely.

G&S sometimes has awkward or dated turns of phrases and the production team made a few adjustments by adding modern interpretations here and there. Some might see certain decisions as “a liberty too far”, such as adjusting the words around, “tucking in one’s tuppeny” or using emojis to express the Italian lyrics to songs, but it’s a directorial decision, for a thoughtful reason and nicely executed. Ensuring the story is well told is number one, and did not detract from the story for me.

The set consisted of flats and these were painted appropriately and nicely and suited the production well. A good deal of work and talent expended in getting these looking good

In terms of direction, the production was mostly traditional with modern hints here and there to brighten things up.It could drag in odd areas, which is something to keep an eye on. Character development mostly good and relevant. Transitions mostly good and appropriately done. Good lighting. Well done to director Anthony Baker.

Musically, a fabulous orchestra and a good bunch of singers, with the chorus harmonies coming through as well. There was a lot of work to do in this show for Richard Bromley and he carried it off professionally. Though initially uncertain, I ultimately appreciated the decision to light the orchestra during the overture.

How could the group make such a production better? I would work on two things –ensuring every word is clear and making the most of any humour already in the script. I’d also add that generally, making a modern or local reference does tend to take you out of the story – it sort of draws your attention to the fact you’re watching a local production, or a production that the cast themselves feel is out of date, and makes you think about the location you’re in or the people who are performing. It can often work, but sometimes it might not have the effect intended for everyone. I thought the group handled this well, but it’s always an area for caution. Orchestra lighting: on the night I attended, some of the lamps used, particularly the conductor’s, were set at a high angle and rather shone in the eye of the audience members. Those LED lights are very intense and while it doesn’t cause a huge problem, it can be a bit of an annoyance, so something to be mindful of if it can be adjusted. (But of course we do want the conductor to be able to see!) I think the group have achieved a level of consistency at the moment.

The audience know what to expect from eachproduction and they will deliver it to that level, and I think they’re happy with the level they’re at.

Well done Hornby Occasionals, and thank you for your invitation and hospitality.

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