HMS Pinafore - King's Head Theatre

This was a 'boutique' production with only eight cast members. I was concerned it wouldn't have the magnificence of a huge-cast production with a bevy of camp sailors, but it was equally good in its own way. In the intimate setting of the King's Head Theatre, which is at the back of a pub, it was nice to be able to see facial expressions at close quarters. The dearth of cast members also meant that the First Lord of the Admiralty's aunt was represented as a cinerary urn, which made for lots of laughs.

This was my first time seeing HMS Pinafore and I was not disappointed. I found almost all the songs memorable and beautiful or catchy, and preferred the storyline to that of The Mikado, the G&S opera with which I'm most familiar. I enjoyed the nautical setting and references; the love story that crosses the social divide featuring an implausibly eloquent and verbose sailor; the theme of an unqualified person rising to a position of high responsibility...It was extremely funny, and this production added its own witty touches, such as the aforementioned urn, to which Dick Deadeye made romantic overtures at the end; the sun salutation performed by Bobstay first thing in the morning; Dick Deadeye producing a gun when Ralph was contemplating suicide; and the entrance of the 'Monarch of the Sea' in wetsuit and snorkel.

The HMS Pinafore in this production was a submarine rather than a ship, with a shiny, claustrophobia-invoking set that included bunk beds and a periscope. It was set in the 1960s, which seemed an unusual choice for a G&S opera, but I appreciated the 60s dance moves in 'Never mind the why and wherefore'. Most of the costumes, being naval, weren't obviously 60s, but Josephine's two costumes were (they included a mini-skirt and beehive), and Cousin Hebe wore hotpants.

All the cast were excellent, but I would like to extend an honourable mention to: The 'Monarch of the Sea', or First Lord of the Admiralty, Sir Joseph Porter (Joseph Shovelton), who was delightfully Boris Johnsonesque. The deadpan earnestness of Josephine (Alys Roberts) was perfect, and her voice was amazing. I loved the facial expressions and gestures of Little Buttercup (Jennie Jacobs) in 'A many years ago'. And no, I hadn't anticipated the twist at the end.

Next: Oranges and Ink

The Mikado - Upstairs at the Gatehouse

LEGO Japan scene

In these turbulent, uncertain, infuriating times, when one's patriotism has been drained to the very dregs, there's nothing like a bit of quintessentially English Gilbert and Sullivan to restore one's battered spirits.

G&S productions are usually done on a grand scale, so it was interesting to see one with only eleven cast members, accompanied by a single pianist rather than a full orchestra. The set was minimal, consisting of a stool and some plants. I would like to say there was a gong, but I think that was a product of my imagination. In the second half a charming Japanese-style love seat entwined with flowers materialised. The costumes were typical Mikado fare - British conceptions of traditional Japanese outfits, with black wigs aplenty. Ko-Ko's headpiece as Lord High Executioner was impressive; it had an axe sticking up out of the top, from which swung a severed doll's head.

The small-scale nature of the production didn't make it any less enjoyable. Being so close to the actors is always a boon. For the most part, the actors were considerably older than the characters they played - Sally-Ann Shepherdson as the schoolgirl Yum-Yum was fifty if she was a day - but it only added to the humour. It was very funny; recent events in British politics made good fodder for Ko-Ko's Little List. The singing was excellent, as befitted former members of the D’Oyly Carte Opera Company. I particularly enjoyed Yum-Yum and Nanki-Poo (Declan Kelly)'s parts, and the titular Mikado (Bruce Graham) had an incredibly powerful voice. I appreciated the madrigal Brightly dawns our wedding day more than I usually do; it's not one of my favourites. I wonder about the extent to which the production was abridged - unless I'm much mistaken they missed out See how the Fates their gifts allot.

It was just as well the singing was so good, because some of the actors' grasp of their lines wasn't. Pooh-Bah (Graham Stone) forgot his lines twice and Ko-Ko (Trevor Alexander) once. In all my years of theatre-going, until this night I had never actually heard an actor say 'line?'. I've seen a Maori actor tumble, bare-bottom first, into the audience; I've seen a production grind to a halt (literally) because of technical difficulties; I've heard plenty of actors come in at the wrong time and try to cover it up, but never, until this night, had I heard an actor stop and ask to be prompted for a line. And it happened three times in this production! Not to make a big deal out of it or anything...

photo credit: LEGO Culture of Japan - Kyoto Kiyomizu via photopin (license)

Next: The Taming of the Shrew