Utopia Limited

Utopia Limited is Gilbert and Sullivan’s penultimate cooperation, which premiered in 1893, following a hiatus of two and a half years since the Gondoliers closed in 1891. There had been a long business disagreement between them over refurbishment at the Savoy Theatre. For three years the two had been arguing over the cost of a new carpet, and had taken the matter to court. D’Oyly Carte had been trying to bring them back together. They had collaborated with other partners in the meantime, yet these ventures had not proved as successful as the G and S brand, so they reluctantly agreed to work together again. Is this one of the reasons the work is relatively rarely performed?

The plot is complex and confusing, the concept of limited corporate liability is quite technical, and the following of the lyrics is of paramount importance. Moreover, the work is one of the most expensive of all the G and S works to mount, with its huge cast and lavish costumes.

In fact it was only revived professionally in 1975, and amateur societies have tended to shy away from it. This is indeed only GOS’s third production in 101 years, the last one being in 2007.

King Paramount of the South Sea island of Utopia decides that his people should adopt all English customs and institutions, but he goes a little too far in decreeing that the kingdom and all its inhabitants should become a ‘company limited’ based on the English Companies Act of 1862. Themes of corruption, scandal in the Royal Family, privatisation of public institutions, fake news and rich entrepreneurs influencing government policy dominate the plot – so as usual G and S themes are universal and still relevant! But the complexity demands much of its audience, in a way that other G and S works do not.

Once again, GOS provided an excellent, well-designed programme full of useful information, especially in the Director’s and Musical Director’s notes. There were interesting directors and cast profiles; a list of musical numbers; a good and essential synopsis (I noticed people referring to it at times); an extensive glossary, and the always useful list of past productions.

In this cold, wet winter, we were delighted to be transported to the lush setting of the island of Utopia, with palm trees, azure sea, mountainous islands in the distance. Later we were in the lavish palace, with a moonlit backdrop. Props were many – Xmas crackers, those tiny fireworks you smash on the ground, sticks of dynamite, round black bombs – anything that exploded really for Tarara, the Public Exploder. There were flags, banners, fine green fans, musical instruments of various types, elaborate ceremonial staffs and many more.

Costumes were astounding, really a sight to behold. The ladies of the chorus wore gaily coloured loose trousers with long tunics over and flowers in their hair and wafted green fans about. The Public Exploder wore a red coat of many pockets, each containing another exploding item. The two ‘wise men’ Scaphio and Phantis were splendid in long tunics with very elaborate black feathered headdresses. The Lady Sophie looked very proper in a purple very English outfit and bonnet, King Paramount, by contrast, very striking in his native attire. Not for long though, for he soon decrees that everyone should dress as the English do, and soon appears in the uniform of a Field Marshal. There are indeed plenty of uniforms about, Captain Fitzbattleaxe and his troopers, the Lord Chamberlain, the naval captain and so on. The financier, Mr Goldbury, wore a natty check suit in a fetching shade of maroon. There were some very fine costumes too for the first Utopian Drawing Room reception, with all the debutantes clad in very pretty white ballgowns and feathered headdresses. A feast for the eyes, these costumes, no wonder Utopia is considered an expensive production!

The 25-piece orchestra was very ably conducted by Richard Stockton, who, I understand, had provided an overture for this production, where previously there was none. `

First of all, let me say this was a fine production full of amusing highlights, well-directed, polished, and what we have come to expect from GOS. It was, however, sometimes difficult to follow those all important lyrics, so maybe some of Gilbert’s amusing ideas were missed, as I find when I read through the glossary after the event.

Richard Arthur excelled as King Paramount, and made him a real character we could sympathise with, especially in his struggles with his horrid ‘advisers’ Scaphio and Phantis – great performances too from Lee Power and Andrew Ellison, two nasty pieces of work! Richard Gun Cuninghame had, and was, great fun as Tarara, the Public Exploder, a great role for him with his eyes a-twinkling as he produced ever more unlikely exploding devices from his coat of many pockets!

The six English counsellors shipped out from England, the ‘Flowers of Progress’ were amusing and imposing. Mr Goldbury, the wheeler-dealer ‘Company Promoter’ in the natty suit especially appealed, a super role for Matt Excell, who shone. In fact, the evening I attended the poor man had lost his voice, so his singing was taken on by the Director, Duncan Hamilton, standing at the side of the stage. If I hadn’t been told in advance, it would have taken me a while to notice this, it was very well mastered by the two of them.

And what of the ladies? Princess Nekaya and Princess Kalyba, the King’s two younger daughters, were a playful pair of delighted happy girls, Rebecca Lucas and Lucy McGuinness made them real characters, full of life, and made a good team. Alexandra Lawrence played their governess Lady Sophie, very sober, very correct, in fine voice, and of course desperately in love with the King, once again a good character study.

Princess Zara, the King’s Girton educated eldest daughter, just returning to her home country escorted by Captain Fitzbattleaxe and Troopers of the First Life Guards, was a fine role for Ines Hynett, her first performance for GOS. She was a sweet girl, yet somewhat aware of her own strengths. She could wrap her father and more particularly Captain Fitzbattleaxe around her little finger. The poor Captain was so enamoured of her that it was affecting his tenor voice, as Tim Dutton demonstrated so amusingly in ‘Oh Zara, my beloved one’.

Other fine moments here were the debutantes ball scene, where in place of champagne, all were sipping tea from china cups; the anthem ‘Eagle High in cloudland soaring’ with the whole company; and of course the very funny cabinet meeting with the King and the ‘Flowers of Progress’, all playing ukeleles, tambourines, fiddles and so on in the style of Music Hall performers.

A great evening again in Godalming Borough Hall, our February treat.

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