H.M.S. Pinafore or The Lass That Loves a Sailor, is an early Gilbert and Sullivan opera, and fits squarely into the conventions of Victorian melodramatic theatre. The romantic hero, heroine and black-hearted villain are all here, surrounded by characters that are exaggerated in fine musical comedy form. The music is gloriously rich and varied for soloists and chorus and the piece offers splendid opportunities for colourful and imaginative staging. The plot is totally unbelievable, of course, dealing with class-consciousness, thwarted lovers and mistaken identities but the sense of fun and frolic is irresistible and always great entertainment.
DIRECTION:
The Trowbridge production was directed with careful attention to the text and form of the opera: the talents of the company both onstage and backstage were exploited to present a colourful presentation of the piece. Casting of Principals had been undertaken well to make characterisation credible, the plotting of moves and grouping was pleasing and often dramatically effective, the narrative came across strongly. The Civic Hall stage is not easy to work on: the shallow depth and enormous width of the stage is a problem for a Director - but this was quite successfully overcome by the clever use of an "apron" rostrum for the Boatswain and Captain at significant moments of the action, and the spreading of the Chorus to fill the stage space. The design of the set, with upper level for the Quarter-deck of the ship, allowed some good positioning of key characters, although they were not well lit and heads came rather too near the "flies" for comfort! Sight-lines in the Civic Hall are also a directorial night-mare, but action at the sides of the stage was generally satisfactorily visible (even from ~6!). The company had been encouraged to play out-front and deliver "asides" in a fine melodramatic style, and this helped to put the show across well. The show began a little tentatively at the second-night presentation under review here, the pace and tone of the Overture and opening scene were a touch slow and under-projected, but the energy-level picked up noticeably at the entrance of the Captain and by the Finale to the First Act, the company had achieved a good, crisp tempo and gusto in performance. After the Interval, the change of mood to Moonlight and melancholy was firmly directed, but there was a little tiredness in the cast at times; some voices sounded strained and reactions were often artificially forced. Relaxation and confidence could have been more in evidence - as no doubt they would become at subsequent performances. The Director had given the cast and company a firm foundation for a successful showing of this Gilbert and Sullivan gem.
STAGE PRESENTATION:
SETTING : The design and construction of the set for this production was ingenious in dealing with the proportions of the Civic Hall stage. The cyclorama made a good open backing to the set with quarter-deck rostrum sloping gently towards the centre of the acting area: ropes and rails formed a suitable "deck" D.R., and the brick wall (rather sadly losing its paint!) and street-lamp, not quite concealing the nasty lighting fitment on the back wall, suggested the quay-side imaginatively. The small platform placed in the Orchestra was a very useful extension to the stage. The set was colourful, bright and uncluttered to give the actors good acting areas.
LIGHTING: The wide stage was well lit throughout this production, bright and "outdoors" for the First Act and the chances for "atmospheric" lighting were nicely grasped in the Moonlight for the Second Act. The moving clouds on the cyclorama added a great touch to the setting. The red sky for the Second Act duet was lovely; the stars were a good idea. The lit "portholes" worked splendidly, but the street-lamp appeared to have a life of its own coming on and off a bit unexpectedly! A little more subtle dimming to suit the romantic and melodramatic moments could have been plotted, perhaps - and a follow-spot would have been useful to point the "evil" Dick Dead-Eye.
COSTUMES: The production was attractively costumed in Victorian clothing, with uniforms for the sailors and colourful dresses and accessories for the ladies. The Chorus of sailors looked a little scruffy in their white vests and the bell-bottoms were a touch variable in quality and fit, but the Chorus of Ladies looked splendid in some gorgeously frilly and colourful outfits; the efforts to give individuality to the "sisters, cousins and aunts" were especially creative, with fans, parasols, gloves, etc. Josephine was prettily costumed for both Acts; the little cape over her second act dress was lovely. The Captain seemed to be rather improperly dressed without his uniform hat - although the straw boater for his final appearance was great. Sir Joseph looked every inch a Lord, although even his "hat" appeared a little oddly "flat" from front to back! Little Buttercup was nicely costumed to show her status. Dick Deadeye's eye-patch gave him a suitably villainous appearance. Footwear for the company was a touch "assorted": good buckles and heels, but some slightly strange trainer/plimsolls on view.
MAKE-UP: In the bright lighting for the First Act, all performers were colourfully made up appropriately for the period and exaggerated characters in this operetta. The Victorian "penny plain, twopence coloured" feeling to the make-up was great. But after the Interval, most of the Chorus members and many of the Principals began to "shine" as their makeup had not been re-applied. A little "repair" work was needed.
PROPERTIES: Excellent work was evident in the selection of the abundance of properties required for this production: flags, Buttercup's basket, song-sheet, pistol, "cat", etc. Just one tiny criticism: the photograph of Sir Joseph was really far too small for such a conceited chap!
MUSIC: The Orchestra assembled for this production was basic: strings, piano and percussion. The sound produced was nicely "Victorian", but one missed the robust notes of some brass in the Overtures to both Acts. Tempi tended to be carefully controlled and became a little too "steady", but the performers were always sensitively accompanied. The Choruses were well rehearsed, Duets and Ensembles treated with great care and to good musical effect. The Principals were directed well by the M.D. to develop individual talents to the full.
PERFORMANCES:
The Trowbridge company worked well: team-work and support of high quality in this production. The Chorus of Sailors, although small in number, made a good sound and acted with lively enthusiasm throughout the show. The Chorus of Ladies looked a million dollars and sang with tremendous vitality, if just a little "sharply" at times. The "drilling" of the Sailors and the dance movements of the ladies were particularly fine. It was a pleasure to note the many excellent voices in the Chorus and some really impressive acting ability, too. The imaginative direction of processional entrances like the "Welcome" for Sir Joseph and the "Cat" Chorus was especially impressive. Nice work.
SIR JOSEPH PORTER was a believably timid First Lord, but his overbearing conceit and self-confidence were played a little tentatively. There was some hesitancy over cues and his lines needed delivering with more certainty of the emphasis of key-words. His singing was fine, especially in the "patter" song, but greater reactions to those "sisters, cousins and aunts" would have been fun. Some lively dancing and high kicks during the trio in Act Two revealed a side of this performer that might have been more fully explored in other scenes.
CAPTAIN CORCORAN took the "lead" at his first entrance in a masterly way. His fine stage presence quickly established firm audience-contact and his "toe-tip" performing made every thought and feeling clear. Good strong voice and eminently clear diction made this performance memorably effective. Good work.
RALPH RACKSTRAW is a difficult role, the light tenor of high romance so beloved of Gilbert and Sullivan. The actor here was a little stiff in movement and tense in voice production: relaxation was needed, to give him more drive in his relationship with Josephine. The "suicide" moment was played rather casually: the melodrama lacked the necessary tragic hero posing and bravura. Technically, this performer needs to improve his breath control for better vocal support on top notes to avoid "falsetto" effects, but he works hard on stage and makes a good impression.
DICK DEADEYE is a great part to play: the typical "villain" of Victorian melodrama. His eye-patch and limping gait were nicely suggestive of the character, but the actor did not make as much of the role as might be: his first very late entrance seemed to start him off on the wrong foot at the performance under review here. Some uncertainty over words was apparent. This "Dick" was not as scary and threatening as the script suggests; his growling and snarling were very restricted. When the performer sang, however, a fine bass-baritone was revealed that grew stronger and more confident as the show progressed. His duet in Act Two and work at the Finale were especially good.
BILL BOBSTAY played in splendid support of Ralph and his singing in the ensembles was very good indeed.
BOB BECKET was a first-rate member of the Sailors' Chorus, with a noticeably fine voice and acting ability of leading quality throughout.
JOSEPHINE was a charming leading lady, tall and primly Victorian, yet with a twinkling eye that made her reactions to father and lover believable. Spontaneous, natural acting and a very pleasing light soprano voice that coped with Sullivan's difficult intervals bravely and well.
COUSIN HEBE has a tricky role in the opera: she needs to weigh in with her reactions to Sir Joseph so that the finale has credibility. The actress here was a little quiet, tending to underplay the dialogue; her bright face and lively movement, however, were most attractive and there was enormous promise in the playing.
MRS. CRIPPS was a positively delightful "LITTLE BUTTERCUP". From the moment of her first entry, she captivated audience and company totally with her fine stage presence and concentrated playing. Voice production second to none in speech and song -and a sense of style in her performing that must be the result of much experience. It was a pity she was quite so "crowded" by the Chorus at her "revelation" moment, but it was beautifully strongly played. Well done.
The Trowbridge Amateur Operatic Society is to be congratulated on reviving "HMS Pinafore" so colourfully and competently. The show was directed clearly and creatively, staged attractively and performed with talent and obvious enjoyment. Happy faces at the Curtain Call, waving Union Jacks - but no "Boos" for Deadeye Dick, strangely! The large audience in the Civic Hall was treated to a happy evening of escapist theatre that was splendidly true to the spirit of Gilbert and Sullivan.
THANKS and CONGRATULATIONS.
|
