School Play - 1975 - The Gondoliers

“The Gondoliers” School Play

Article from The Georgian Magazine 1975 pg 50 - 52

DRAMATIC SOCIETY

The year 1889 did not seem propitious for new Gilbert and Sullivan operetta. Sullivan had long felt that he was expected to subordinate himself to the librettos of his partner with the result that his musical talents were being wasted. It is thus surprising that by December of the same year he had completed a score which in gaiety and tunefulness indicated that the rift between the two master had been bridged, at least temporarily.

Of the 'Gondoliers', Gilbert had this to say to Sullivan: "It gives one the chance of shining right through the twentieth century with reflected light". This prophecy had a happy fulfilment in May this year when the Preparatory School presented the work under the direction of Kit Hodge and Barry Smith. From the lilting phrases of "List and learn" to the final chorus, "Once more gondolieri", much of the original glow was recaptured.

Gilbert intended that his work, like republican Venice, would have no single hero, but that each role should have its counterpart. This is seen in the twin lead assigned to the brothers, Marco and Guiseppe, played by Brett Massimo and Mark Todd. The former revealed his promising vocal talent in the celebrated 'Take a pair of sparkling eyes', while the latter revealed fine acting ability for which he was awarded the Drama Prize. Their joint reply to the chorus of Gondoliers and Contadine in the Finale of Act 1 was a comic masterpiece.

Howard Kemp, as the Duke of Plaza-Toro, found the vocal demands of his part somewhat taxing, but his spoken lines were well delivered, and he certainly succeeded in portraying one who for years had been subject to petticoat rule. Jenny Mallett, the Duchess of Plaza-Toro, dominated the stage from her first interjection, 'And his Grace's Duchess true'. Her sense of timing and general decisiveness did much to give pace to the scenes in which she took part. Her solo, 'On the day when I was wedded', was both a musical and comic highlight, and few will forget with what ironic relish she sang the lines, 'I was smiling very sweetly'.

Hugh Legg displayed maturity and poise in the role of Casilda, providing a note of pathos amid the humour generated by her imperious mother and 'insignificant progenitor'. Andrew Robinson, as Luiz, with whom Casilda is in love, was diffident at the outset, but grew in confidence as the evening advanced, finally striding purposefully to the centre of the stage to claim his throne and queen.

It was evident that Geoff Croasdale had given much thought to his role as the Grand Inquisitor. In his very opening words: ‘So this is the little lady….,’ he succeeded in establishing the character of the most feared man in Venice. His two solos left us in no possible doubt whatever that he was in excellent voice. 'There lived a king' was especially notable for the clarity of diction and fine attack. There was also a poignant moment when he allowed a shadow to fall across the comic situation as he comforted Casilda with:

'Life is one closely complicated tangle Death is the only true unraveller'.

The Contadine, Gianetta and Tessa (Christopher Preston and Keith Anderson), provided the audience with many hilarious moments as they attempted, in typical female fashion, to come to terms with their changing fortunes; and of the minor characters, Thomas Maree showed versatility and subtle characterisation as both Antonio and the king's foster-mother, Inez.

A characteristic of the performance was the vitality and vivacity of the choral sections, especially the 'Dance a cachucha' where Andrea Catzell inspired the cast to throw their inhibitions and skirts to the four winds. The finale was all excitement with even the sepulchral Inquisitor deigning to smile.

Jill Parker's backdrop helped to sustain the enchanting atmosphere of Venice, and Diana Hodge was responsible for the imaginative sets. The parents are to be thanked for making the colourful costumes and helping with the make-up.

Barry Smith made light of the onerous task of bringing the best out of his youthful singers, while his orchestra added another dimension to the performance. Kit Hodge again showed his flair for organisation as he deftly handled his large cast.

As the chorus brought the evening's entertainment to a close, they bade farewell to the audience with the words: ' We leave you with feelings of pleasure'. I am sure that there was no-one in the audience who could not return the sentiment.

V. C. P.