Scottish Opera: ‘The Gondoliers’
Eden Court Theatre - 13/11/2021
Premiered in 1889 this romantic and infectious opera is as relevant today as it was then. Playing to an enthusiastic audience of the Inverness great and good, it received an enthusiastic reception on Scottish Opera’s return to live performance. Just the right choice to lift the spirits on a chilly autumn afternoon. The Foyer was packed, with many tables reserved for the after-show meal, which must have gladdened the heart of the Eden Court management. With Gilbert and Sullivan you certainly get your money’s worth in entertainment value. The curtain rising at 2.30 and, with a short interval, coming down after 5. Not a lot of time for the hard-working cast to get ready for the next show. Curtain calls were short. But on to the show itself. The delight of hearing a proper overture played by a full orchestra (it was difficult to see but there must have been around thirty) is always a thrill. Conductor Jonathon Cole-Swinard brought a light and brisk touch which he maintained throughout. The tabs opened in Act 1 to a charming Venetian setting (of course), invoking the paintings of the renaissance, and we were treated to the lengthiest opening sequence of all their operas. The cast and chorus filled the stage with colour and movement managing well with the smaller stage of Eden Court. And thus this tale of romantic conflicts and satire of rank and station commenced. A long first half of this nature requires energy and sometimes this was lacking. There was almost a sense of relief as the first act drew to a close and the action relocated to the Royal Court of Barataria in the second act. The first act requires quite a lot of dances which seemed a challenge for some members of the chorus. Particularly the large flounces of the women’s costumes and the character shoes. I was particularly concerned for the steep step downstage at times. However, their enthusiasm carried them through. The acoustics are challenging in the auditorium which made the chorus sound quite thin at times. But bravo for song and dance at the same time, along with a speedy pace from the conductor. I was a trifle disappointed by the two Gondoliers, Giuseppe and Marco (Mark Nathan, William Morgan). Although they sang well, more attention and finish would have been helpful to their acting performance and movement. Tessa and Gianetta (Sioned Gwen Davies, Ellie Laugharne) made a wonderful contrasting pair of wives. Mention must be made of the singing of Luiz (Dan Shelvey), who came into his own in Act 2. A grand voice. Of course, the Duke of Plaza-Toro, played by Gilbert and Sullivan expert Richard Suart, stole the show, particularly with the witty exchanges and references to current politicians. I won’t quote in case readers catch the show on its tour. How the Duchess of Plaza-Toro (Yvonne Howard) manipulated her ridiculous panier costume was testament to a professional. The pantomime villain Don Alhambra de Bolero (Ben McAteer) strutted the stage magnificently. Every lyric was delivered loud with no need for the surtitles. Casilda (Catriona Hewitson) sang perfectly, despite being saddled with an unbecoming black concoction.
This production felt a safe crowd pleaser if not outstanding. It sometimes lacked energy and commitment essential for this style and work. However, if audiences need a boost of comedy and fun in these troubled times, this is just the ticket. If you are down south next year you can catch this show at The Hackney Empire 30th, 31st March and 2 April 2022.
