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Show: Express G&S
Society: Charles Court Opera
Venue: Pleasance Theatre, Carpenters Mews, North Road, London
Credits: Written by John Savournin, after Gilbert, with new lyrics by David Eaton - part of a UK Tour
Type: Sardines
Author: Ned Hopkins
Performance Date: 23/06/2021
Express G&S
Ned Hopkins | 24 Jun 2021 22:24pm
Image: Matthew Kellett, Catrine Kirkman, Philip Lee. Photo: Bill Knight
When I was young, Gilbert & Sullivan operas were a firm favourite of operatic societies. I was even cast as a bridesmaid in Trial by Jury myself, in a school production – until obliged to stand down and concentrate on my abysmal academic work. And although the satirical humour and archness of WS Gilbert’s dialogue may nowadays seem dated, his impeccable lyrics married to Arthur Sullivan’s delightful melodies, are as fresh as ever – as this highly enjoyable, intimate show reminds us.
Created as a cabaret entertainment to meet current social distancing restrictions, Express G&S immediately reminded me of the intimate style of Sullivan’s fun but footling three-handed one-act romp Box & Cox written with F C Burnand prior to his collaboration with W S Gilbert. Here, the conceit is a spoof of an Agatha Christie set on a luxury locomotive visiting the settings for the G&S operas. At various stops: Penzance, Titipu, Westminster etcetera, we meet suspects of the crime that has occurred.
The pride and joy of Brigit, the waitress in the restaurant car, is her sweet trolley piled high with delicious things on lacy doilies, her doily cart of course. (There is also a fleeting reference to D’Oyly Carte’s rival, the Carl Rosa company, one of many in-jokes to be spotted by aficionados of light opera. We are also constantly reminded that ‘the hour of ten was sounding’).
On discovering her trolley has been vandalised, Brigit is distraught: cue for Matthew Kellett’s Poirot look-alike detective – although he is quick to inform us he is French and not Belgian – to reassure her he will solve the case. No plot spoilers from me. In fact, the narrative is only there to serve as a coat-hanger for a quick tour of a host of G&S’s best loved songs and a few that were less familiar. In an oblique reference to Coward the waitress is also in love with the guardsman to add romantic interest to the doily-thin tale.
For me, the primary joy of the evening was watching Philip Lee and Catrine Kirkman in one quick-change after another, appearing as versions of much-loved, contrasting Gilbertian characters. Some of the lyrics have been wholly re-written, others somewhat abridged to serve the story – and others, such as the Policemen’s Song from The Pirates of Penzance left, as far as I could tell, well alone. A highlight is Catrine Kirkman’s affecting rendition of one of G&S’s loveliest ballads The Sun and I delivered straight, as was her wistful interpretation of the lesser known The Coming Bye and Bye from Patience. Kellet, who good-naturedly takes on Suchet-Finney-Branagh makes a good fist of his rendition of the Nightmare Song from Iolanthe supported – as is the whole show – by Ian Wilson’s excellent lighting design and Jessie Huckman’s atmospheric all-purpose set and well-executed costumes. The gifted cast made versatile use of two old-fashioned railway carriage seats which, thanks to good movement direction, seem to have lives of their own.
A special word for Philip Lee’s dancing skills which bring vivacity to the piece in John Savournin’s well-paced production of his own script, whilst MD David Eaton, also the lyricist, and with a good on-stage presence himself, is in strong control of the proceedings from his position at the piano.
If I had a quibble, apart from the fearfully uncomfortable high-backed stools my press colleague and I were allocated (venue please note: those seats do you no favours!) I felt the evening might have been strengthened if conceived as a more genuine Christie-type parody involving a proper murder and maybe replacing more of Gilbert’s lyrics with original ones. The trolley-D’Oyly gag rather outlived his welcome (my mind occasionally wandered to Victoria Wood) and I’d have liked a little more drama albeit, melodrama.
Nevertheless, the show provides a perfect diversion on a warm summer’s evening and, stools notwithstanding, The Pleasance with its welcoming open-air bar/restaurant below and friendly staff, provides the perfect place for it. Express G&S should
continue to give pleasure to covid-weary patrons here and at the other places on its tour.
LondonMusical TheatrePleasance TheatreProfessionalsocial distancingTheatre