Theatre Royal, Glasgow
While Scottish Opera’s decision to mark its return to full-scale live production with Gilbert and Sullivan will likely raise legitimate questions about the company’s artistic priorities, there’s no questioning the boldness of Stuart Maunder’s directorial approach in this brand new, all-guns-blazing version of The Gondoliers.
The mirth and excitement oozing from the first night audience said it all: it’s just great to be back in a real opera theatre, guffawing at the sheer escapism of a ridiculously silly story hammed up amid colourfully extravagant sets and costumes, and in the case of one gentleman near me, humming to the tunes he knew, and some he clearly didn’t.
From the outset, Maunder’s unspoilt vision is laid unapologetically before us: a panoramic Venice (Dick Bird’s elaborate picture postcard sets) filled with frolicking maidens and on-heat Gondoliers, from which unfolds a typical Gilbertian tale of relational complexities, unwitting entanglements and a conveniently convoluted denouement that, in the blink of an eye, sorts everything out.
And here is a cast that enters fully into the spirit, tweely exaggerating its comical naivety, caressing its gentle satire, and proving Sullivan’s melodic invention to be so much more than musical doggerel.
A gleeful Ellie Laugharne and mellower Sioned Gwen Davies bring complementary charm to the playful roles of Gianetta and Tessa, affectionate matches for the boyish exuberance of their respective Gondolier hubbies, the excitably delicate William Morgan as Marco and firm-footed Mark Nathan as Giuseppe. Dan Shelvey as Luiz and Catriona Hewitson as Casilda come late to the party, but make their presence firmly felt.
There’s vintage G&S bluster from veteran D’Oyly Carter Richard Suart as the spluttering Duke of Plaza-Toro, and Yvonne Howard as his Duchess, splendidly regal, but dressed in so vast a panniered dress one assumes its extensive wingspan conceals wheels to facilitate accompanying its wearer. Ben McAteer, as the pompous Grand Inquisitor, Don Alhambra, completes the ‘establishment’ line-up.
But this is ultimately a triumph of team work, right down to many other incidental roles, the flamboyant choreography and vocal animation of the chorus, and an orchestral performance under music director Derek Clark that bristles with sunshine and character. There were minor hesitancies on opening night, but nothing that can’t sort itself out as this fine production beds in.
The Gondoliers runs in Glasgow until 23 Oct; Edinburgh 28 Oct – 6 Nov; Inverness 10-13 Nov; London 30 Mar – 2 Apr. Full details at www.scottishopera.org.uk