Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
Sian Lomax directs Gilbert and Sullivan’s renounced play The Gondoliers. Two Gondoliers from Venice get married on the same day that the Grand Inquisitor from Spain informs them that one of them is the King of Barataria. They both travel to their kingdom without knowing that whoever is King is also married to the daughter of Duke of Plaza Toro. Only the nurse who witnessed the birth of the King knows the truth. To add to the problem their wives arrive to Barataria just to discover that neither of them is Queen and one of them has to share a husband, while Casilda is in love with her father’s servant.
The Venetian inspired decoration was central to the play and enabled every spectator to focus on the plot with ease. The roaming boat and the Venetian painted houses gave the sensation that one was living in a specific era in the city of Venice. The lighting helped to intensify the environment by changing according to the events in the plot and reflecting the emotions of the characters. Additionally, the spotlights focusing on them helped the viewers follow their feelings throughout the scenes. However, in the second half the centrality of the stage was lost as the decoration and background did not embody the environment in a Spanish Castle.
The music was an adequate representation of the surroundings and the female choir delighted the audience. However the singing of some of the main actors was weak and failed to portray the intensity of the musical. The same can be said about their acting. The scene between Casilda and her lover was short of passion and chemistry creating a mood that is not faithful to the problematic nature of the play. The Spanish Inquisitor was not able to represent his character within the scene and instead appear to be a bizarre flirtatious man with a strange accent. In general the interactions with the characters lacked dynamism and charisma. They were occasionally motionless, especially when singing in small groups. This slowed down the play and hindered its full potential. The general effect was lethargic.
In conclusion, the lighting, the first half of the staging and the background music were more successful in representing the dramatic spirit of the story. However as one of the spectators said Gilbert and Sullivan’s play are an acquired taste and some people might love their work while others might not.
I went to see the Gondoliers last night, and I think you're right about some things here - there were some definite issues with diction and expression in a couple of the lesser roles, and there was a problem with creating the Spanish second act. Having said that, I can imagine it being difficult for a smaller society to afford a set change (or be able to pull one off in a fairly unforgiving venue).
That said, I think there's a lot this review isn't saying - what about the fabulous voices of the girls playing the Duchess and the lead soprano, for instance, or the amazing bass voice of the Grand Inquisitor? It's also the best costumed production I've seen where the costumes have been student-made, rather than rented like the latest CHMS show. To be frank, The Gondoliers isn't an 'intense' musical - it's a comic operetta with no serious emotional strife and a lot of comedy - so I think most of the cast did very well with what they had and it's well worth seeing.
I completely disagree with the review of Jams Gaughan (Grand Inquisitor - it's customary to research the actors' names in reviews like this). I felt he was one of the highlights, unafraid to get into character and maintaining his accent (bizarre as it may have been) throughout. James Gaughan and Pippa Loughran made this show worth watching.
I'd also like to second anonymous's comment about the costumes. Cecily Blench deserves massive congratulations on the incredible feat of not only making all of the costumes, but being in the show as well. That takes a huge amount of commitment and skill.
Certainly, the venue wasn't the most forgiving but for a small society with a niche performance, they should be extremely proud of what they achieved and the audience's response.
Firstly, I would like to say that there are some gaping holes in your review. Anyone who had at least read the synopsis (let alone watch the production) would know that the second half was set in the kingdon of Barataria, not (as you put it) a Spanish Castle.
There is no such thing as a 'choir' within G and S productions, only a chorus.
As one other commented, it is customary to research the names of the characters before 'reviewing' them.
Gilbert and Sullivan is not classed as a musicals society, it is light operetta.
The 'background music' as you have written, is a farcical notion. The orchestra are tantamount to the action on stage, and equally on a par with the importance of the action on stage. Perhaps if you hadn't gone into the show with such preconceptions, you would have been able to appreciate the level of sophistication and talent brought to the table from the orchestra.
From what you have written, you clearly judged the production before you even watched it, which compromises the validity of your review. This is why in your first paragraph, your style of writing doesn't hang together well as you seem to have only commented on obvious technical effects.
You seem to have thought that this production would be in a similar style to the work of Happily Ever After Society and CHMS. However, just because the production wasn't popular music, I disagree that "Gilbert and Sullivan’s play are an acquired taste and some people might love their work while others might not." If you had decided to watch the show (NOT A PLAY) with an open mind rather than with poisonous preconceptions, you would have had a more enjoyable evening. I certainly did.
I can't actually comment on the show itself because I haven't seen it, but I think the word 'renounced' in the introduction is surely meant to be 'renowned'?
comment deleted by the author I went to see the Friday night show of The Gondoliers, and it seems like I had seen a completely different operetta (not play, as you mention above) to you. An operetta, if you had done any research into the genre, entails that the music does not just lie in the background, but is integral to the entire production. For me, this year’s orchestra carried the show with an electric energy and much precision in their performance.
I would also like to comment on some of the errors in your review. For example, 'a roaming boat' - surely this should be 'a rowing boat'; or more precisely a Gondola - hence the title of the production. Also, if you had consulted the programme, you would know that the second act of the production was set in the Kingdom of Barataria, not Spain. It was also mentioned several times during the first half. It is was highlighted in the finale of act one, which comprises of the lyrics, 'Away we go to an Island fair, that lies in a Southern Sea.’ Last time I checked, Spain is not an island. I would also hasten to add, that in any kind of production, whether it be a musical, opera or operetta, there is never a choir; it is always called a chorus.
Furthermore, I was surprised that your review failed to comment on the fantastic voice of Helena Culliney - The Duchess, and James Gaughan’s outstanding bass voice, as well as Annabel Medland as Gianetta. I also thought that Chris Charlton-Matthews and James Knowles kept up the pace throughout with their portrayals of Marco and Giuseppe. I thought the show was overall an extremely entertaining show for the audience.
May I begin by saying I am extremely disappointed with this review, of what was a fabulous production of a Gilbert and Sullivan Opera/Show/Musical, call it what you will! A lot of hard work, time and effort went into the production and this showed in an extremely impressive run of shows. As a member of the Orchestra, conducted brilliantly by the musical director, Tom Nichol I came into the rehearsal schedule fairly late on but was hugely impressed by all the singing and acting that was on show! All the leads played there parts to great acclaim and the casting must be praised. The Chorus too played a key part and sang with energy and enthusiasm. The staging, costumes and lighting were all fine. Nothing wrong with them. They were perfectly adequate for the requirements! I'm not going to go on.
I have written a number of reviews of concerts, sports articles and other articles for this website and other student literature. I feel with a little bit more research into the show and perhaps having some actors and directors names to hand would have come in handy!
Also please check your spelling, punctuation and language before you upload!
Cheers!
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