The Gondoliers

This was my first visit to see Rochdale Phoenix Opera Society and what a joy it was. I have never met a more committed group of individuals who are all vocally stunning and who exude a real thirst and enthusiasm for performing a Gilbert and Sullivan piece. The Gondoliers, if you’re unfamiliar with it, is a wonderfully buoyant operetta about two carefree Venetian gondoliers, Marco and Giuseppe, who discover that one of them is the rightful King of Barataria, though no one knows which. Their newly married wives, Gianetta and Tessa, are thrown into confusion, as is Casilda, who was secretly married in infancy to the true heir. The plot spirals into a delightful tangle of mistaken identity, republican ideals, and romantic entanglements, all wrapped in Gilbert’s witty lyrics and Sullivan’s sparkling score.

Taking to our seats, we were quickly whisked away into the world of Venice, with the stage already alive with colour, movement, and a chorus who looked as though they had stepped straight out of a sunlit piazza. The opening bustle of the ensemble immediately set the tone: bright, energetic, and full of character, with every performer contributing to the sense of place. The power and stunning musical quality behind the 13‑piece orchestra was simply remarkable. The strings shimmered, the woodwind danced, and the brass added warmth and grandeur at all the right moments.

At this point I wholeheartedly have to commend Jon Gibson, Musical Director, for his exceptional musical leadership. The way he directed his cast and the way the cast followed his musical direction was simply brilliant because every cue was crisp, every tempo felt natural, and every ensemble number had a tightness that only comes from meticulous rehearsal and a deep understanding of the score. His baton was clear, his communication confident, and the cast responded with trust and precision. Directed by Anita Stuttard, the production was equally strong theatrically. You could tell the performers were well drilled with a clear sense of style, comic timing, and physical storytelling. This is because Anita understands that The Gondoliers thrives on movement and ensemble cohesion, and she ensured that every performer, whether principal or chorus, had purpose, intention, and a defined character. The stage never felt static; instead, it buzzed with life, yet always remained clean and readable.

Musical numbers such as “List and Learn,” “From the Sunny Spanish Shore,” and “In a Contemplative Fashion” were masterfully sung by the cast because they combined vocal precision with expressive acting, making each number feel alive rather than simply sung. “List and Learn” showcased the ensemble’s clarity of diction and tight harmonies. “From the Sunny Spanish Shore” allowed the Duke’s entourage to sweep in with pompous grandeur, each performer leaning into the satire of aristocratic self‑importance. “In a Contemplative Fashion,” one of the trickiest pieces rhythmically, was delivered with such charm and comic precision that the audience responded with audible delight.

A particular musical highlight was “Dance a Cachucha,” where the cast were bursting with energy, swirling across the stage with simple yet effective choreography that filled the space with colour and movement. The joy radiating from the performers made the number feel like a celebration, and the audience couldn’t help but be swept up in it. The dramatic gestures and facial expressions given in “There Lived a King” were wonderfully exaggerated, perfectly capturing Gilbert’s satire of monarchy and class hierarchy; every raised eyebrow, every knowing smirk, and every playful gesture added layers of humour to the storytelling.

Antonio, played by Andrew Sutcliffe, was a warm and engaging presence, bringing a rich vocal tone and a natural ease to the stage. He contributed significantly to the gondolier ensemble, adding charm and character to every scene he appeared in. The Duchess of Plaza‑Toro, played by Lisa Kay, was brilliantly played because she balanced aristocratic dignity with razor‑sharp comedic timing, delivering her lines with flair and singing with confidence and elegance. Her presence commanded attention, and she navigated the Duchess’s blend of snobbery and self‑importance with delightful precision.

Marco, played by Lawrence Shoebridge, was charismatic and vocally impressive, his tenor lines delivered with clarity and warmth. He brought a romantic sincerity to the role, making his scenes with Gianetta particularly charming and believable. The Duke of Plaza‑Toro, played by Oliver Hingston, was a comedic powerhouse, capturing the Duke’s pompous self‑importance while still making him endearing. His physical comedy, especially in the scenes describing the Duke’s “professional” approach to poverty, was a highlight of the evening.

Luiz, played by Tony Stones, was able to bring emotional depth to the production, his scenes with Casilda tender and beautifully sung. He portrayed Luiz’s inner conflict with sincerity, grounding the more farcical elements of the plot with genuine feeling. Casilda, played by Stella Whitehouse, delivered a vocal performance of great beauty, her soprano soaring effortlessly through Sullivan’s melodies. She brought poise, vulnerability, and emotional nuance to the role, making her scenes with Luiz some of the most moving moments of the evening.

Gianetta, played by Susan Fletcher, was radiant, singing with warmth and precision and bringing expressive acting to every moment. Her chemistry with Marco was delightful, and she infused her scenes with charm and wit. Tessa, played by Julie Sutcliffe, was equally captivating, her comedic timing impeccable and her energy infectious. She brought sparkle to the stage, and her interactions with Giuseppe were playful and engaging.

Lovely moments of proxemics were used within the performance space because the cast understood how to fill the stage with purposeful movement, especially in the scenes where the gondoliers attempt to rule jointly. The shifting formations, playful jostling, and carefully choreographed chaos all contributed to the humour and storytelling.

Overall, Rochdale Phoenix Opera Society delivered a production that was vibrant, polished, and overflowing with heart. It was a celebration of community theatre at its very best, I wish you all the very best with your forthcoming productions.

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