THE GONDOLIERS, ARTS THEATRE
There is nothing remotely serene about this Venice. Gilbert’s topsy-turvy lagoon city of gondolas and intrigue arrives not bathed in moonlight but bursting with riotous laughter, razor-sharp satire, gloriously clever lyrics and a plot as daft and delightful as the best Christmas pantomime. Add one of Sullivan’s most tuneful scores and the result is irresistible. Better still, English Touring Opera’s production is a triumph in virtually every department. Joyous is the word.
First, the look of the thing. Act One transports us to Venice by way of elegant arched bridges that glide and pivot across the stage, moved by the cast to create a constantly shifting series of picture-book tableaux. It is theatre as choreography. Then comes Act Two and the mythical kingdom of Barataria, revealed in a jaw-dropping throne room framed by giant allegorical murals of almost operatic grandeur. Designer Michael Pavelka deserves loud applause for scenery that is both witty and visually sumptuous. There is a remarkable coup de theatre at the end of Act One when the Arts is turned into the Grand Canal and an hilarious Pythonesque torture instrument that had us all rolling in the aisles.
The costumes by Laura Jane Stanfield are equally inspired. The women of the chorus appear in bright doll-like dresses bursting with colour while the gondoliers sport suitably swaggering Venetian garb. The Duke, Duchess and would-be queen parade about in extravagantly camp creations that suggest a world of Lewis Carroll. Most memorable of all is the Grand Inquisitor, swathed in a magnificent flowing red-and-black costume worthy of some demented ecclesiastical villain – Cardinal Fang by way of the Spanish Inquisition. The whole production is a feast for the eyes.
And thankfully for the ears too. The singing throughout was first-rate: solos, ensembles and choruses all delivered with style, polish and enviable clarity of diction. Every word of Gilbert’s libretto landed cleanly, no small achievement in a score so packed with verbal dexterity. Better still, the cast relished the comedy. Some of the innuendoes were given a decidedly adult twist and the audience responded with delighted laughter throughout. Remarkably, Gilbert’s satire still bites. His skewering of deference, privilege and the corruption of power feels uncomfortably current, while the mockery of royal money-making schemes and fashionable egalitarianism lands with pinpoint accuracy.
Whether you are a lifelong Gilbert and Sullivan devotee or someone who normally keeps operetta at arm’s length, this production is not to be missed. From overture to finale it radiates wit, warmth and sheer theatrical exhilaration. If you are searching for serenity, look elsewhere. But if you need an evening of unabashed fun, melody and laughter, climb aboard this sparkling gondola at once.
photo credit: Richard Hubert Smith
