Gilbert and Sullivan
The National Gilbert & Sullivan Opera Company
Buxton Opera House
July 27-August 10, 2024: 2 hrs 35 mins
(also August 10, 7.30pm)
Well, nobody expected the Spanish Inquisition – at least, not in quite such a gory fashion as in this production of a Gilbert & Sullivan classic.
In The Gondoliers, the plot hinges on the truth of what happened to a Spanish royal baby years ago, when he was in the care of a foster mother named Inez. A character called the Grand Inquisitor (or Don Alhambra del Bolero – there’s even nonsense in the name) extracts it from her by giving her copies of “all the illustrated papers” to read, and that torture does the trick.
But in Simon Butteriss’s ingeniously clever production, he’s a Torquemada-style church prelate (complete with acolytes and accompanied by becowled monkish enforcers), as if the 15th Century Grand Inquisitor were still at large. It’s a good joke, and there are several others in an approach that blows some dust off the traditional.
Butteriss himself is the Duke of Plaza-Toro, the Spanish nobleman fallen on hard times who floats himself as a limited company to raise capital (WS Gilbert’s invention back in 1889, but close to the world of today). Butteriss has all the fun you might expect from him, including wearing a couple of very glamorous wigs.
The rest is pretty straight (the dialogue after Rising early in the morning, made ironic, is a nice twist) and in its 19th Century period. The costumes (Harriet Raydin) are lavish and, because people have to change their appearance with more than one translation from poverty to royalty (or at least being related to royalty by marriage) there’s even some live-on-stage costume changing.
The main thing about the operetta, though, are the Spanish and Italian dance rhythms (it’s set in Venice, of course) that Sullivan sprinkled liberally throughout the score. That means there has to be plenty of dancing and again, choreographers Rae Piper and Paul Chantry have come up trumps. There’s hardly a moment when people aren’t on the move.
The piece requires a largish cast of principals, with two romantic tenors and two mezzo-sopranos (one the young contadina Tessa, the other the more typical G&S lady of advancing years), and a second star soprano, Casilda (in addition to the contadina Gianetta) – who must top some of the big ensembles.
For Casilda, the company has Kelli-Ann Masterson’s bright, clear tone; for the role of her mother there is the excellent and gifted comedienne Gaynor Keeble; and with young tenor Sam Marston as the young Luiz you have the Duke’s entourage.
There are classy operatic voices for gondoliers Marco and Giuseppe, in the shape of David Webb and Charles Rice; and for Tessa and Gianetta in Meriel Cunningham and Ellie Neate. I really admired Cunningham's ability to turn a near wardrobe mishap into a comedy moment, and her warm tone, with an exceptionally-rich lower register impressively making itself heard now and then. The Torquemada-like Don Alhambra was sung by Toby Stafford-Allen, making this role his welcome contribution to the festival.
Murray Hipkin is in command in the pit, his affectionate approach to the music and perfectly judged pacing a constant delight as he conducts the National Festival Orchestra.
More info and tickets here
