|
Ruddigore, or The
Witch's Curse" was the 10th collaboration between Gilbert and
Sullivan. The "supernatural opera" opened on January 21, 1887 at
the Savoy Theatre and ran for 288 performances. It was not
revived until 1920 when it was substantially cut and provided
with a new overture arranged by Geoffrey Toye.
The opera is a
parody of the stock melodrama — the villain who carries off the
maiden; the priggishly good-mannered poor-but-virtuous-heroine;
the hero in disguise, and his faithful old retainer who dreams
of their former glory days; the snake in the grass who claims to
be following his heart; the wild, mad girl; the swagger of
fire-eating patriotism; ghosts coming to life to enforce a
curse; and so forth. But as one critic noted, Gilbert turns the
moral absolutes of melodrama upside down: Good becomes bad, bad
becomes good, and heroes take the easy way out.
The story opens in
the Cornish fishing village of Rederring, outside the cottage of
one Rose Maybud, our heroine. The girls chorus are bemoaning
that they are the only professional corps of bridesmaids in the
world, and their services have not been required for the last 6
months, and it's time Rose got married. The ageing Dame Hannah
appears, and in desperation, they even appeal to her to get
married. She refuses, and sets the plot for the whole show:
The first baronet,
some twenty generations ago, was a cruel person who enjoyed
persecuting witches, ducking them in the lake, and also burning
them at the stake. One day before she died, a hag cursed him,
saying 'from this day forth, you must do a crime every day, else
you die in agony'. This holds true for Sir Despard, the current
incumbent, even now.
‘The
Gondoliers’, or ‘The King of Barataria’, was the twelfth
operetta written by Gilbert and Sullivan together. Opening
on December 7, 1889 at the Savoy Theatre, ‘The Gondoliers’
ran for 554 performances, and was the last of the G&S
operettas that would achieve wide popularity. It’s lilting
score has, perhaps, the most sparkling and tuneful music of
them all and calls for the most dancing.
In
this operetta, Gilbert returns to a satire of snobbery
regarding class distinctions and begins his fascination,
which will play an even larger part in the next operetta,
‘Utopia Limited’, with the “stock company act” using the
absurd convergence of natural persons and legal entities.
Again setting his work comfortably far away from mother
England, Gilbert is emboldened to level somewhat harsh
criticism on the nobility class, and the institution of the
monarchy itself.
Two
just-married Venetian gondoliers are informed by the Grand
Inquisitor that one of them has just become the King of
Barataria, but only their foster mother, presently at large,
knows which one. As Barataria needs a king to put down
unrest in the country, they travel there to reign jointly,
leaving their wives behind in Venice until the old lady can
be interviewed.
It turns out
that the king was wed in infancy to the daughter of the
Spanish Duke of Plaza-Toro, and so it seems he is an
unintentional bigamist. Of course, the beautiful daughter is
in love with a common servant! When the young Spaniard and
the two Venetian wives all show up wanting to know which of
them is queen, complications arise. No worries, the true
identity of the king is revealed, and all is combed out
spectacularly well by the end.
-
H.M.S. Pinafore
HMS PINAFORE,
THOUGHTS FROM PROMPT CORNER BY CAROL MANNING
It was with some
trepidation that I ventured into "prompt corner". With the
departure of the sadly missed former prompter Diana Peper
for foreign shores, I was asked to fill this vacant
position. What a responsibility: The Gilbert & Sullivan
Society were presenting HMS Pinafore at the Casa de Cultura,
Guardamar. I must immediately declare an interest as I was
a founder member of the Society and regard the members as
friends. Having been committed elsewhere I was not going to
be in this production and so I had the honour of being
asked! They didn't warn me at the time that I might be
required to write this! Having never done this job before
I had lots of encouragement but those who tried to warn me
of the difficulties I told I didn't want to know. I needed
all the confidence I could muster. Diana had assured me
that I would probably not be needed but I knew from my stage
experience the reassurance one felt to know that there is a
reliable "friend" to help you out of any difficulties. I
have worked with a Director who wouldn't have a prompter and
didn't like it.
I was very well
appointed in prompt corner with a light, a little table, and
chair and far more room than I've ever had in a dressing
room. The sailors were my first worry. Cindy Willoughby and
her front of house team were first to have to cope with them
as they entered from the auditorium What an unruly bunch.
How Mava and Trevor ever got them in order is beyond me.
Mava is Mava Bingham Stage Director - she who must be
obeyed. Trevor is Trevor King, Assistant Stage Director and
Stage Manager, I believe he was largely responsible for all
the movement in the opera which so brought it to life, even
to the Charleston! I must explain. Instead of Portsmouth
in 1878 HMS Pinafore was docked in Bermuda in the 1930s.
Hence the "Queen's” navy became the "King's” navy amongst
other changes. W.S. Gilbert would have had no trouble
recognising the words of his songs but I'm not sure about
the libretto! The story line remained the same but the
words were very different.
Sir Arthur
Sullivan would have had no problem recognising his music
under the skilled hand of Cyril Willoughby. What patience
that man has. (But that's another operetta). With HMS
Pinafore being of only one and three quarters of an hour
duration it is sometimes supplemented with a number from
another of the operas and this was done to open act two to
great effect. "Climbing over Rocky Mountains" from The
Pirates of Penzance was used magnificently to show off the
ladies in their wonderful costumes, thanks to Lena Brand
amongst others. The lighting had been dimmed and the ship
lit. The scenery truly complemented the picture thanks to
Ted Williams and his team. As to the words in this
additional item once again I doubt if Gilbert would have
recognised many of them as they were rewritten in a more
nautical (and naughty) fashion to better suit the story line
and setting. The addition provided two nice little cameos
for Alison Davies and Marie Sills
We are so lucky
in the Society to have such talent available to us with
Gwyneth Farrer taking the soprano lead as Josephine; Don
Woods lead tenor as Ralf; John Wallace as Sir Joseph Porter;
Norman Shelley as the Captain; Pat King as Buttercup; Norman
Lee as Dick Deadeye; Christeen Ansell as Hebe; John Gardiner
as the Boatswain and Trevor Ansell as his mate. The other
male chorus were of course sailors but the ladies' chorus
were described as "Debs, Delites and Sophisticates" They
were supposed to be Sir Joseph Porter's "sisters, cousins
and aunts" but I don't think Mava needed to worry too much
about Sir Joseph marrying one of his "cousins". Of course
we all know that the most important person in any production
like this is the accompanist and in Sue Brace Guest we have
one of the best. She is so dedicated and reliable and
uncomplaining. I can't imagine having to sit and play for
all that time. The concentration; - she has to
play everyone’s parts.
Back to me and
my job in prompt corner. Yes I gave it all my concentration
but I was glad it was an opera and not a play. At least I
got some time off to sit back and enjoy the music and the
singing. It looked good and sounded good from where I was
sitting and it sounded as if the audiences thought so too.
Would I do it again if asked? I hope not. I want to be
back on stage. But I enjoyed the experience.
Thanks must go
to the staff at Guardamar Casa de Cultura and to the town
hall for allowing its use also to the many other people who
made the production possible and of course to our audiences
for their support. At the final curtain Trevor Ansell our
Chairman presented a cheque for 3,500 Euros for the Mayor's
choice of charities.
-
The Sorcerer After Show Report
-
G. & S. Society Production of 'The Sorcerer" April 2008.
"Thoughts from Prompt Corner" by Diana Peper
For a prompter on the last night of any production, prompt
corner, home for three nights, becomes an alien place
inhabited by backstage staff packing up and waiting
impatiently to get you out of the way. Cast members have
retired to their dressing rooms for the transformation from
the kaleidoscope of colourful characters who have
entertained so well, to actors and singers already looking
forward to their next production. The words "well done" echo
around as I gather up my redundant script, and it's as
simple as that - every facet of the production, from the
costumes, the scenery, the technicians in the lighting box,
the backstage and front of house staff, in fact the
coordinated whole was simply the best.
This production of 'The Sorcerer", perhaps one of the lesser
known G. & S. operas, was beautifully staged, with
light-hearted music skilfully handled. As always with the
Torrevieja G. & S. Society, the principal characters
glittered, word perfect and practised in their stylized
moves, leaving me free to concentrate on some of the minor
parts, and what a lesson there was to be learned by those of
us in other amateur dramatic groups who complain when given
small parts. What a joy to see Gwyneth Farrer, playing a
lowly housemaid, emerge for a swift flirtation with the
Vicar, showing us, in the space of one minute, what flirting
with Vicars is all about. Norman Lee, as an old, bronchial
retainer, is a scene stealer - like fluffy dogs and small
children, he is the type lead actors want to avoid.
Applauded every time he came on, he carried all before him,
including a mop, a chamber pot, and eventually the above
mentioned Gwyneth.
John Manning, in the part of an old, deaf, Notary, was
another who showed us how to make the most of a small part;
he cackled away tunefully and developed a convincing stoop
that I hope will not be permanent. He was supposed to be 67
years old, which was a great comfort to us all who have long
passed that mark and are still relatively upright. The
chorus was exceptional; so often in amateur shows there are
some chorus members who sneak around hoping not to be
noticed - not these, they all acted and reacted - a task
made easier by their delightful costumes. 'The Sorcerer" was
directed by Mava Bingham with great charm and understated
skill. Cyril Willoughby directed the music, and with
accompanist Susan Brace Guest, the Society is blessed with a
great team.
The programme thanked the Director and Staff of the Casa de
Cultura, Guardamar del Segura, and at the end of the show a
delightful young lady representative of the Ayuntamiento was
presented with a cheque for 2,500 euros; she seemed very
happy with the amount and kissed every single cast
member/male or female who were on stage for the finale.
|
