Gilbert and Sullivan
Richard Bratby
I’ve said it before and I’ll say it again: you have to be pretty silly to take Gilbert and Sullivan seriously. But even sillier not to. And positively heroic to revive the pair’s 1884 three-acter Princess Ida: the show which – updated to a futuristic sushi bar – was responsible in 1992 for one of English National Opera’s all-time great fiascos (well, if you will hire Ken Russell as director...). Vivian Coates’s colourful new production for the National Gilbert & Sullivan Opera Company keeps the action firmly in the cod-medieval Neverland, lifted straight from Tennyson, that G Read more ...
David Nice
Men playing boys playing girls, women and men, all female parts convincingly falsettoed and high musical standards as backbone: Sasha Regan's single-sex Gilbert and Sullivan has worked a special magic on Iolanthe and The Pirates of Penzance, HMS Pinafore and now The Mikado, not so much. Energetic song and dance are still in evidence. But this time a hard-worked scout-camp setting – located, as advance publicity tells us to expect, some time in the heyday of Enid Blyton – brings very little to highlight Gilbert's immortal preoccupations with class and hypothetical sadism.Familiar Read more ...
Richard Bratby
How well do you know your bad Victorian poetry? “When through the purple corridors the screaming scarlet Ibis flew/In terror, and a horrid dew dripped from the moaning Mandragores.” Go on, guess the author. Or how about this? “What time the poet hath hymned/The writhing maid, lithe-limbed,/Quivering on amaranthine asphodel". Got it yet? The first is Oscar Wilde’s The Sphinx, from 1881. The second, WS Gilbert’s libretto for Patience – written in the same year, and skewering Wilde with gleeful relish and lethal precision.If Liam Steel’s new production of Patience for English Touring Read more ...
Marina Vaizey
"Oh what a beautiful morning! Oh what a beautiful day!" Curly the cowboy sang in the opening scene of Oklahoma!, the first musical from Rodgers and Hammerstein (1943). In the midst of war here was sheer optimism and celebration set – with some nods at reality ("there’s a bright golden haze on the meadow, the corn is as high as an elephant’s eye, an’ it looks like it’s climbin’ clear up the sky") – in the American West. It was also a fully integrated show – music, book, lyrics, choreography (Agnes de Mille, Cecil B DeMille’s niece) and set design with everything pushing the narrative, another Read more ...
David Nice
It should have been unmodified rapture: a gathering of English National Opera team members old and new celebrating the doyen of the company's best-selling productions. And, as has always happened with the artistic side of the company, this loving homage to Sir Jonathan Miller sounds like a triumph. Critics weren't invited to the gala - statement, not sour grapes; this was a charity event, after all - and the final rehearsal was closed, though not apparently at the wish of anyone performing. The circumstances, though, tell us a lot about a company divided.Now, perhaps, is not the time for well Read more ...
Richard Bratby
By the end of Act One of The Yeomen of the Guard there's been a jailbreak, a clandestine marriage, a swapped identity and a cancelled beheading. The chorus sings, halberds are brandished, and a jester jests. Even by Gilbert and Sullivan standards, it’s one heck of a tangle. And then, in John Savournin’s touring production, the stage clears and, true to Gilbert’s directions, Elsie faints in Fairfax’s arms while silhouetted behind them, masked and motionless, stands the grim figure of the executioner. At which point you start to realise that the only way Gilbert’s going to be able to solve his Read more ...
graham.rickson
Ilya Beshevli: Wanderer (Village Green)Siberian musician Ilya Beshevli's background will resonate with anyone who's resented learning an instrument. The son of a composer and a musicologist, Beshevli grew to dislike his enforced piano lessons, envious of his non-musical peers who were allowed to play outside while he practised. He returned to the instrument by chance in his early twenties. In his words, “I feel like I'm lacking basic knowledge... nevertheless, I'm studying music at university at the moment and we'll see what this will bring...” This is a hard album to pigeonhole: best to Read more ...
David Nice
How ironic that English National Opera turned out possibly the two best productions of the year after the Arts Council had done its grant-cutting worst, punishing the company simply, it seemed, for not being the irrationally preferred Royal Opera. And while 2015 has been as good as it gets artistically speaking for ENO, 2016 may well see confirmation of the first steps towards its dismantling by a short-sighted management – for what is a great opera house without a big chorus or a full roster of productions, both elements under threat?Meanwhile, let’s celebrate the positive. Both the outgoing Read more ...
David Nice
Much of what follows was included in the 25th anniversary programme for Jonathan Miller’s legendary production of The Mikado at English National Opera. And the show goes on, still dazzling on each curtain-up thanks to the undated feat of the late Stefanos Laziridis’ sets and Sue Blane’s costumes, its routines absolutely classic on its 14th revival. On 6 December it marked its 200th performance, so there’s good reason to wheel out this celebration of sundry Mikados again.First, a word about the revival. It was apt that the first ENO Charles Mackerras (Conducting) Fellow, 28-year-old Fergus Read more ...
Richard Bratby
At the beginning of Act Two of John Savournin’s production of HMS Pinafore, the quarterdeck is in darkness. Kevin Greenlaw’s Captain Corcoran steps out of his cabin, downs a brandy stiffener, and launches into his melancholy lament to the moon. Woodwinds echo the ends of sighing phrases as the strings pluck their accompaniment: something about this sounds familiar. And as cymbals clash melodramatically and David Steadman, conducting, underlines the ominous chromatic rise and fall of the bass line in Little Buttercup’s fateful duet with the Captain, the target of Sullivan’s musical satire Read more ...
David Nice
When ENO announced its return to Gilbert and Sullivan, rapture at the news that Mike Leigh, genius Topsy-Turvy director, would be the master of wonderland ceremonies was modified by its choice, The Pirates of Penzance. Last staged at the Coliseum – and unmemorably – as recently as 2004, the fifth Savoy opera seemed less in need of revisiting than several larger-scale successors. By the end of last night, though, it was clear not only that Leigh and his musical team had been the best possible choice to tackle this work of classical perfection, but also that if operatic schedules could be Read more ...
David Nice
Judge Judy meets The Only Way Is Essex: this endlessly resourceful production of Gilbert and Sullivan’s first (mini) masterpiece Trial by Jury is one that cries out to appear on TV. Which in a make-believe sense it does: we’re the audience in the studio where Court on Camera is about to air. A warm-up chappie who turns out to be the Usher (Wagnerian bass-baritone in training Martin Lamb) – on other Sundays it will be a lady – gauges our capacity to applaud and boo, and we’re off on a case of breach of promise of marriage as you never saw it before.The pleasure is doubled because in Charles Read more ...