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Show: The Pirates of Penzance
Society: Performance Preparation Academy – PPA (student productions)
Venue: Yvonne Arnaud TheatreMillbrook, Guildford, Surrey GU1 3UX
Credits: Gilbert and Sullivan
Type: Sardines
Author: Chris Abbott
Performance Date: 13/06/2017
The Pirates of Penzance
Chris Abbott | 14 Jun 2017 09:22am
It’s always a pleasure to return to Guildford for a PPA production and it was good on this occasion to see them performing at the Yvonne Arnaud theatre rather than in a smaller venue. The large cast more than lived up to the reputation of these enterprising and consistent musical theatre students, this group last seen by me in Merrily We Roll Along earlier this year.
It’s a large theatre to fill and on there were some empty seats, but the enthusiasm of the audience made up for that. Disappointing, however, in a place like Guildford; where amateur productions of G & S are strongly supported but work of this quality may not be. Unlike some other establishments, PPA put on full productions not showcases, and theatregoers in Guildford are very lucky to have these on their doorstep.
Although played mainly as written, the musical arrangements by MD James Doughty for his four-piece band had a jaunty jazz inflection, and the Act I Finale in particular was transformed giving it a gospel feel, and all the better for it. The production was in the experienced hands of Director Christopher Howell, who lost no opportunity to fill in the detail that keeps the audience interested and offers opportunities for the cast. No uniform set of pirates, police officers or daughters these, but distinctly delineated characters.
Set design was uncredited and limited, not a problem at PPA or the Electric where the usual two staircases provide suitable playing spaces, but the stage did look very empty at the Yvonne Arnaud, unless the whole cast were filling it. Perhaps it would be worth hiring a suitable set in future to avoid the rather empty look of the stage, especially in Act 1, especially as the costumes (Louise Pieri) were so effective? And the recorded music before each act seemed inappropriate and unnecessary.
Pirates, daughters and police officers were all played to their full potential, with a rather more acrobatic set of pirates than is usually the case in such productions. The Major-General’s daughters managed to avoid the insipid writing of their parts and the police officers – all WPCs – were a tap-dancing triumph, chewing gum and asthma inhaler included.
Unusually for PPA – and perhaps due to being in this venue – there were technical issues, with noisy mics and an errant strobe light proving very distracting at times, although the cast battled on. Many of the principal roles were dual cast, but on the night I attended Lisa Antonelli was more than up to the role of Mabel and made rather more of the part than did Gilbert when writing it (as did the Director by inserting an extra song from The Gondoliers). Opposite her was Joseph Hewlett as a heroic though self-aware Frederic, very much looking the part and commanding the stage whenever he appeared.
Also lighting up the stage whenever she appeared was Cathleen Limerick as Ruth, despite in no way meeting the description of her written by the author. In her pirate maid guise in particular, this was a confident and well sung performance. The group of Cornish WPCs, accents all correct(ish), were led by Charlotte Allison as Sergeant, and their choreographic combination of torches, tap shoes and high-vis jackets worked well.
Christian Tyler-Wood was well up to the vocal demands of the Pirate King if not quite dominating his band as might have been expected, and when even Johnny Depp appears to be tiring of Jack Sparrow it is perhaps time to rein in the guyliner and plaits and reinvent a pirate look. The potential Savoyard among the cast was Ben Everett Riley, whose Major-General was wholly in the traditional mould and whose patter singing – even at double speed in the reprise – was exemplary (though I am not sure how he kept the moustache in place throughout).
Perhaps the greatest success of the evening was the choreography by third year student Honor O’Neill, also appearing in the ensemble. Always inventive and asking much of the talented cast, this was an excellent example of how dance can transform a hackneyed and over-familiar piece into something quite new and enjoyable.
The same can be said of the many inventive touches in the production, including a well-timed pratfall into the orchestra pit, excellent use of a passerelle and audience entrances, and even the panto long sleeves gag. This playful production continually surprised and the seagull won cries of delight from the audience, especially when it flew, as did the MD’s transformation into Queen Victoria.
Another success for PPA then and I am sure many of this talented cast will have been snapped up by agents and managements who have followed their development during their time at Guildford; I look forward to seeing the next cohort in future.
- : admin
- : 13/06/2017