The Gondoliers

A glorious evening of entertainment at The Courtyard Theatre as the Hereford Gilbert and Sullivan Society took to the stage with their latest production of ‘The Gondoliers.’ This was a vibrant and highly amusing production; revitalised by a modern interpretation of this comedic operetta by W.S. Gilbert and Arthur Sullivan. With the men dressed as teddy boys and the women in their vibrant petticoats and swing skirts, it transported us to the era of Rock ‘N’ Roll, leather jackets, hair combs and ladies in pink thus giving a fresh take on this classic piece. I must applaud Musical Director Hannah Roper on the vocal performances throughout which were sensational, with perfect pitch, tone and harmonies that seamlessly blended throughout the whole show underpinning and elevating the production to new heights. Under Colin Hales' expert conductorship, the orchestra filled the auditorium with the impressive score, achieving a perfect balance of strings, woodwind, brass, and percussion, resulting in a rich, full-bodied sound.  Good pace, movement and direction were to the credit of Stage Director Alan Durman and Assistant Choreographer Wendy Winterburn. The use of the stylish tableaus at the beginning and end of acts were particularly effective and the big ensemble numbers were well placed, allowing for all performers to shine. I commend the four young dancers that joined the main ensemble, adding an extra dynamic to the piece with perfect grace and poise. For me Bethany Preston gave a standout performance in the dance troupe giving an expressive performance, a beautiful dancer.

Set against the backdrop of Venice, the story unfolds in The Piazzetta, where the charming Marco and Giuseppe, known as The Gondoliers, engage in a light-hearted game of blind-man’s-buff to select their brides. The scene is filled with amusement as swooning women eagerly vie for their attention, quite literally falling over themselves in the process. Eventually, Marco and Giuseppe choose Gianetta and Tessa as their brides, and they joyfully prepare to marry each other and live happily ever after – or so they believe! However, in true Gilbert and Sullivan fashion, the plot takes unexpected twists and turns. It is later revealed that one of the Gondoliers is, in fact, the long-lost heir to the Barataria throne, having been kidnapped as an infant. This revelation not only throws their marital plans into disarray but also complicates matters further as the heir is already married to Casilda, the daughter of the Duke and Duchess of Plaza-Torro, unwittingly making one of them a bigamist.

Chris Morgan and Ed Boreham were well cast as the titular duo Marco and Giuseppe, blessed with impressive voices that blended seamlessly during their duets. They exuded excellent stage chemistry and skilfully played off each other in their comedic moments. With consistent characterisation and pacing, they delivered a well-rounded performance. Their Elvis-inspired hip work added an enjoyable flair to their portrayal. Supported by the talented ensemble of teddy boys, including Ian Roper as Antonio, Richard Hichens as Francesco, and Stephen Chowns as Giorgio, their camaraderie enhanced the overall dynamic of the production. Laura Harrison as Gianetta and Hannah Roper as Tessa delivered compelling performances as the wives of the Gondoliers, facing an uncertain future after the revelation of their husbands' marital status and royal lineage. Both actresses displayed great facial expressions and exceptional vocal talent, with Laura effortlessly hitting high notes and Hannah delivering an impressive high belt. Their engaging performances exuded charm and sophistication, with Hannah's blonde pin curls and stunning Act II dress reminiscent of Marilyn Monroe's iconic style, adding a timeless elegance to her portrayal. Additionally, the meticulously chosen costumes throughout the production authentically reflected the chosen period, enhancing the overall authenticity of the show. Together, the four lovers formed an exquisite quartet, demonstrating a true tour de force of talent on stage.

Alan Durman and Gill Haslam delivered a show-stopping performance with their comedic portrayal of the Duke and Duchess of Plaza-Toro. Alan, as the henpecked husband, and Gill, fully in command of the Duke, displayed fantastic stage presence and impeccable comic timing. Alan's delivery of witty one-liners was particularly memorable, often punctuated by comedic interactions with his onstage wife. Angelina Gill shone in her role as their daughter, Casilda, whose discovery of her infant marriage to the Prince of Barataria brings about a whirlwind of emotions upon their arrival in Venice. Angelina's animated and expressive performance, both physically and vocally, highlighted her professional standard of talent. Her natural flair for comedy was evident as she navigated the complexities of Casilda's romantic entanglements. Joseph Wong, portraying Luiz, Casilda's secret love interest, delivered an impressive performance alongside Angelina, demonstrating great chemistry, which they skilfully concealed from Casilda's parents. Their duets in Act I stood out as musical highlights of the show.

Peter Miln's portrayal of Don Alhambra Del Bolero was the standout of the evening for me. His masterclass in deadpan comedy, complemented by his expressive eyebrows, kept the audience laughing continuously. The casting was spot-on, and Miln's performance was thoroughly delightful, further enhanced by another impressive vocal performance, adding an additional level of excellence to this production. Supporting roles frequently leave an impression in G&S productions, and this performance was no exception. Clara Miln and Sylvie Symons, portraying Fiametta and Vittoria respectively, delivered solid performances within the ensemble of potential brides, often leading the way in the group dances. Frances Roper also stood out as Inez, the mother of Luiz and nurse to the infant prince. Portraying her character with a mop in one hand and a cigarette dangling from her lips, hair styled in curlers, and attired in an apron and slippers, she evoked reminiscences of the iconic Hilda Ogden from Coronation Street, displaying excellent characterisation throughout her scenes. Her revelation of the identity of the Prince as Luiz, rather than Marco or Giuseppe, was a significant relief for all, finally allowing the lovers to choose their rightful partners.

As previously mentioned, the vocal performances in this production were consistently stunning, impressing me with the exceptional quality of both the principals and ensemble. Every member giving well-polished professional performances that belied the fact that this was an amateur company. Musical highlights included "In Enterprise of Martial Kind," "I Stole the Prince," "There Was a Time," "When a Merry Maiden Marries," "In a Contemplative Fashion," "To Help Unhappy Commoners," and "Here is a Case Unprecedented."

I extend my heartfelt gratitude to the Hereford Gilbert and Sullivan Society for their warm welcome and for hosting such an immensely enjoyable evening. It served as a splendid introduction to the group as the new NODA representative of District 1. I eagerly look forward to witnessing the Society's future productions and the artistic endeavours that lie ahead.

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