Music by Arthur Sullivan

Libretto by W.S. Gilbert

Directed by Hannah Spencer

The University of St Andrews’ Gilbert and Sullivan Society returned to the Byre Theatre with The Gondoliers. Sullivan’s score is complex and beautiful, and Gilbert’s storyline is deliciously convoluted. Many years ago, two brothers, Marco and Giuseppe Palmieri, were mixed up at birth such that no one can say which is the true heir to the throne of Barataria. Years later, having taken up jobs as gondoliers, they decide instead to rule Barataria jointly. Adding an arranged marriage, a cash-hungry Duke and an unsatisfied wife make The Gondoliers the quintessential Gilbert and Sullivan story.

This production, however, traded gondolas for glitter by resetting the topsy-turvy story of the roaring 1920s. This switch-up works well with Charlotte Welch’s exquisite costuming, much of which was handmade, selling the period setting. The set design was also effective with a glittering red curtain and marble stairwells conveying the luxury of the mansion at which the chorus (now servants and maids rather than gondoliers) lived and worked.

The Gondoliers presents many challenging musical corners, not helped by the 11-piece band playing from backstage while the Byre Theatre’s orchestra pit remains out of action. Conductor Abby Bailey, who was visible to the actors via a video link, held things together well and responded quickly when timing issues arose. The band played a particularly clean musical line in the “When a Merry Maiden Marries” passage of the overture, and the brass and percussion were strong throughout.

The chorus, musically directed by Rowan Kehrer, had excellent diction, with Giulia (Orsolya Haynes) and Fiametta (Ailsa Calder) delivering particularly clear consonants. The overall choral performance, however, would benefit from closer attention to musical entrances and an effort to create a more blended sound. The chorus handled the choreography well, with Antonio (Derek Boxer) bringing verve to the famous “cachucha” dance.

Director Hannah Spencer’s staging creatively used the entire cast; chorus members walked through the background of scenes to keep the mansion alive and busy while adding comedic reactions to whatever bizarre situation was playing out. Spencer’s direction will be taken to the next level by carving out more moments of stillness and sincerity to contrast with the comedy. Spencer’s background in dance is obvious, as the piece benefitted from clear and communicative choreography throughout.

Marco (Daniel Spiezio) has a golden-age Hollywood warmth to his voice which fits the suave 1920s aesthetic, while Guiseppe (Matthew Colquhoun) complimented this with a more emotional and awkward demeanour. Leading ladies Tessa (Aliza Myers) and Gianetta (Isabella Yow) achieved a classy vocal blend, particularly when combined with Casilda (Ava Daniels), and brought nuances of love, frustration, and excitement to their characters. Daniels delivered an excellent vocal performance throughout, with a clear and sweet upper register, and had charming chemistry with her lover Luiz (Luke Sieven), who was gentle and sincere in the role.

The rest of the Ducal party consisted of the mighty Duchess (Julia Lisco) and Duke of Plaza-Toro (Sam Morrison), who together displayed excellent comic moments. The cast was rounded off by Don Alhambra del Bolero (Charlie Macbeth), whose imposing height and dry sense of humour made for a very enjoyable character. The performance went awry in Act II, with several lines paraphrased or forgotten; while the cast got back on track soon enough, more thorough preparation is required. The University of St Andrews’ Gilbert and Sullivan Society continues to please audiences with its high production values and energetic performances. The Gondoliers showcased promising talent which, with practice and preparation, will bloom into something very special. Keep an eye on the current roster – great things are coming from this team.