No 41 -- Spring 1994 Edited by Michael Walters
The first reaction on seeing the border flats (including Sullivan and Gilbert in the centre) and drop curtain, was "Oh no, not another production full of gimmicks". This fear was strengthened when the overture began with "Away, away" instead of "With cat like tread". However, one need not have worried. Apart from Alistair Beaton's encore verse to "I am the very model" [I don't recall this when I saw the production in London. Ed.], and the fully restored "American finale", there was no interference with the text. For the first time since 1988, everyone in the Company had learned their lines properly.
There was much excitement on stage when the curtain rose to reveal a pirate ship on the rocky seacoast. Toby Barrett was a strong Samuel, Patrick Donnelly's Pirate King surprisingly short in stature, Philip Sheffield a long-legged Frederic. In Act 2, the latter's costume came straight out of the 1940s and clashed with the other costumes. All three did their best with that notoriously difficult opening dialogue. Jill Pert was excellent as Ruth, although throwing her down a mountain (which is what it sounded like) at the end of Act 1 was unnecessary. Memories of Major-General Stanley's daughters carrying rocks and bouncing balls were swept away as the ladies came on to the stage, but more of an impact would have been made if the dancing was less "bitty", and it was unnerving to see them enter from the opposite side from that indicated by Frederic. "Climbing over rocky mountain" is one of the greatest G&S choruses and should be a showstopper in any production. It wasn't on this occasion. Kathleen Tynan was a beautifully sung and sincerely acted Mabel.
Alan Watt (Major-General) acted well, but I objected to what he was asked to do and the way he was dressed. There was no excuse for him not to wear his Major-General's uniform (minus spurs, alas!) throughout. Instead he was dressed in a kilt (!) and sun helmet and required to dance a Highland Fling!!! He was not allowed to be still while singing his introductory patter-song. He should not have been required to wear his night-attire at the beginning of Act 2. But his dressing gown was elegant, the smoking cap a delight and the WSG mutton chop whiskers an absolute joy.
The opening of Act 2, was very effective, showing as it did, the Major-General pacing the ruined chapel before being rudely interrupted by his daughters from whom he was unable to escape. The police did not receive their traditional entrance clap, but it was a joy to hear and see Gareth Jones as the Sergeant of Police.
For the finale, the Director, Stuart Maunder, had taken a leaf out of the Brent-Walker video by dressing the Pirates as Peers, the daughters as brides and getting them all to waltz together at the very end. Roger Kirk's sets, though simple, were effective. The audience was small, but appreciative.
DAVID SKELLY
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