No 42 -- Summer 1994 Edited by Michael Walters
JOHN RECORD, who contributed the next two reviews, is a security officer at Tring Museum. His delightful style will, I hope, feature frequently in future issues. Ed.
I looked forward to this particular G&S with great interest, partly because it's my favourite and partly because I had not seen P&H before. Excellent! First class! Highly professional! I could go on, and I will. Mike and Peggy Morrow (Directors) produced an evening highly polished and highly creditable. The curtain opened on the first bar of the overture and we were treated to a colourful and authentic setting. First rate costumes along with good traditional scenery gave this YEOMEN a good base. All we needed was the performance to match. We were not disappointed. Phoebe (Trish Lewis) acted and sang well, timing her lines with ease. She and Shadbolt, played by an extremely funny Sandy Clitherow, played off each other well. The opera moved along slickly, aided by capable performances from Alex Oleszkiewicz (Leonard Meryll) and Christopher Worrall (Lieut). Good solid efforts also were turned in by Linda Giles as Dame Carruthers and leading Yeomen Julian Ardouin and Doug Milsom. It is difficult to single out the high point in this opera. Extremely well rehearsed with talented principals. The entrance of Point and Elsie Maynard lifted the production to an even higher plane.
Point (Peter Allanson) struggled with the top notes, having a somewhat weak singing voice [in fact he is a professional singer! Ed.], but put tremendous effort into what must be one of Gilbert's hardest creations to play. However he made the part come alive with good movement and excellent facial gestures, producing a sad, lonely and sometimes pathetic character that you really did feel sorry for - Great stuff! It was a pleasure to watch this and so easy to enthuse, but it was really that good, and I haven't even mentioned Nicole Mundy. The lady is from the top drawer, pure joy to watch and listen to, a sweet voice. She was well cast as Elsie Maynard. Many societies would love to have her as their leading lady. The drama she produced with Point and Fairfax (Roger Rufey) at the finale of Act 2 reduced the lady to tears and for once she wasn't acting.
I would strongly advise anyone who can get to see Pinner & Hatch End to see them. They are fully well worth seven and a half quid. I was so impressed I even treated my wife to a meal afterwards.
JOHN RECORD
The performance started somewhat tentatively with the overture being played with a few notes off key and disjointed in places, however as the orchestra moved into the second half of the overture there was a marked improvement in pace and tightness. The opening number "Pour o pour" was sung with great gusto and fine movement on stage, coupled with excellent costumes and scenery, made me feel quite optimistic for the next two hours or so. Alas, things were not so good. Both choruses (Pirates and General Stanley's ageing daughters) were excellent, with clear diction and good characterisation.
The Pirate King (Roger Needham) possesses a wonderfully gravelly voice, but I'm jolly glad his life didn't depend on his singing - enough said. Chris Hardman tried extremely hard with the taxing part of Frederic, but his limited ability in both acting and singing was glaringly obvious. Good support came from Mark Tooby (Samuel). The Male principals ranged from average to bad, and the opera in general needed a shot in the arm: it duly came, in the form of Cherril Watkins, whose singing voice was much needed. Her portrayal of Mabel was a cut above, you felt the evening was in safe hands when Miss Watkins was on stage. Her "support sisters" Edith (Sarah Bannister), Kate (Rosemary Adams) and Isabel (Mandy Lambert) were adequate. Sarah Bannister however was the pick of the three with a wonderful sense of fun, quite a joy.
The company gathered timing and pace, and the finale of Act 1 was carried off with great confidence with the Pirate King somehow shining through and by the end looking very good indeed. Time for ice creams. The curtain opened on Act 2 to superb scenery and an empty stage. "Oh, dry the glistening tear" was preceeded by an owl hooting several times - there's realism for you! Major General Stanley (George Squires) was a definite plus, his singing and acting were highly creditable, he immersed himself into his role and gave the company a good framework. The evening seemed to get better as the opera wore on. The Police were very funny indeed, lead by a highly commendable Sergeant Tony Knowles. In conclusion an enjoyable evening with fast direction and good movement with best performances from Cherril Watkins as Mabel and one lady who I've left until last. Sheila Wainwright as Ruth gave a solid performance, she acted well and sang beautifully. Ah summer seventeen!
JOHN RECORD
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