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Society outshine
university show
The Mikado
Edinburgh University Savoy Opera Group
Church Hill Theatre 
The Gondoliers
The Gilbert & Sullivan Society of Edinburgh
Kings Theatre, Edinburgh
Friday 14 March 2008
IT is inevitable that Savoyards who attend both these productions will
compare performance standards, and there must also be divided opinion on the
question of which represents the very best of Gilbert and Sullivan.
Solos and ensembles of the topmost class abound in both. But, perhaps because
Italian is more easily understood than Japanese, on a purely personal level I
have always tended to put The Gondoliers slightly ahead. Its opening chorus and
huge first finale have always seemed to me to hang more naturally and vitally
together than their counterparts in Mikado.
What was lacking in refinement at the Church Hill Theatre was compensated by
sheer exuberance. Under the hand of vastly-experienced musical director
David
Lyle, things were much more secure at the King's, and a proper orchestral pit
did much to help balance and audibility.
The university company's performance was uneven. Unfortunately, onstage
enthusiasm was not reflected by the orchestra. Too many tempi were uncomfortably
slow. The second-act 'Madrigal', for example, lost impetus a time or two.
Instances of faulty ensemble were unacceptably frequent not least at the start
of Ko-Ko's 'Tit-Willow'.
Much of that could, of course, be put down to opening night uncertainties
which will almost certainly improve as the run of performances progresses.
Kris Bruce [Ko-Ko] and Jonathon Burden acted very competently. Chris Royds
[The Mikado] and Alex Chin-Yuan Mai [Nanki Poo] were vocally well up to what was
required of them. L้onie Hamway made an adequately forceful impression as
Katisha. But Bee Bradley [Yum-Yum] stood out clearly as the leading member of
the cast. Her singing was excellent. That apart, she acted out her
schoolgirl-bride role with great humour and obvious enjoyment.
After a now-and-then ultra-cautious version of the extended opening chorus,
the G & S company's Gondoliers took off with never a dull moment to follow.
The chattering quartet rejoinders in the Duke of Plaza-Toro's first solo were
delivered with immaculate diction and at top speed. In 'Try We Lifelong', the
vocal quintet sang with admirable restraint, allowing Sullivan's music to
express itself eloquently.
What with its mock contrasts of pensiveness and hysteria, the quartet
'In a
Contemplative Fashion' made its point well enough to earn a few laughs.
Alan
Borthwick's production as ever brimmed with all sorts of lively
ideas. Not content to pass over their passing mention in the Act I finale, he
saw to it that Lord High Bishop Orthodox, the Vagabond in the Stocks and others
appeared on cue.
Later on, in 'Rising Early in the Morning', the text of the duet was similarly
acted out by chorus members.
Chorus movement was thoroughly well rehearsed, ranging from some individual
slapstick incidents to the ordered complexity of the Cachucha and other dances.
Ian Lawson's elegant performance in the Act II Gavotte calls for special
mention.
SANDY
SCOTT
Hamish
Gallon, 34, computer analyst, Slateford:
The Edinburgh G&S company offers a high
standard of performance. Ian Lawson as the Duke of Plaza-Toro and
Sandy Horsburgh as Don Alhambra gave very lively accounts of their parts.
Valerie Howie, 67, retired, Portobello:
Alan
Borthwick's productions are always full
of entertaining touches. I especially enjoyed
Fiona Main's Gianetta, and
Ian
Lawson communicates well with his audience. |
