Bristol Savoy

Bristol Savoy presented HMS Pinafore for their 2008 production.  The story, which makes fun of British lifestyles, the Navy and class distinction, was performed by a superb cast which was both lively and co-ordinated.

David Watkins, one of the company's newer members, portrayed the part of Ralph Rackstraw, while Mark Beardmore once again showed both his acting and singing abilities in the role of Captain Corcoran. His rendition of Fair Moon To Thee I Sing was particlarly moving.

Sheila Symes was excellent as the Captain's daughter, Josephine, showing both the sad and happy side of her character very successfully.

Steve Woolley, once again taking on both the production and the main characted, showed his tremendous experience with an exhilarating performance as the wily Sir Joseph Porter.

John Francom's Dick Deadeye, although oozing nastiness, gained some sympathy as the story moved on, while Little Buttercup was in the capable hands of Rowena Ayres.

The prettily dressed ladies and the rumbustious sailors all added to the enjoyment and the orchestra under the direction of David Clarke, accompanied the singers with great skill.

Bristol Savoy Operatic Society's production this year was Patience, which pokes fun at the Aesthetic movement which swept London in the latter part of the nineteenth century.  Gilbert created two foppish poets, Bunthorne and Grosvenor, who compete for the hand of dairy maid Patience (Sheila Symes).  Opening with the colourful costumes of the love-sick maidens the chorus of girls produced some excellent singing.  The soldiers were commeanded by Colonel Calverley, with Gerry Millward giving a convincing performance.  Sheila Symes was first rate in her singing and acting.  Reginald Bunthorne was the perfect role for Steve Woolley, his mannerisms were just right and his singing effective.  Steve also produced and choreographed the show.  What energy!  Rowena Ayres brought her experince to the role of Lady Jane and Tony Worgan as Grosvenor was the perfect foil to Bunthorne.  Musical direction was in the capable hands of David Clarke and the orchestra and chorus are to be congratulated.

Bristol Savoy Operatic Society's production this year was Iolanthe.

This political satire was presented in the traditional way which added to the enjoyment.  At curtain rise a very impressive Arcadian landscape was soon visited by fairies (it was encouraging to see so many younger members). Strephon, the young put-upon shepherd, was played with great flair by Tony Worgan.  Sheila Symes as Phyllis showed tremendous acting ability throughout in a difficult role and she also sang her numbers with great confidence. Mark Beardmore, after his prizewinning role as Marco in The Gondoliers last year, once again turned in a convincing performance as the foppish Tolloller. Both his acting and singing were of the highest standard.  Gerry Millward was an effective foil as Mount Ararat.  Steve Woolley, as well as being an excellent director and choreographer, played the Lord Chancellor with his usual professionalism. Love Unrequited, the patter song, was particularly effective. The company is fortunate to have such a versatile member within their ranks.

Other principals and a lively chorus all played their part in producing one of the best shows in recent years.  The colouful costumes, superb sets and delightful dance routinesmade the whole evening go with a "zing".  Finally, one must not forget the contribution made by the orchestra under the directions of John Pitts.

The sparkling blue waters of Venice form the backdrop to this classic Gilbert and Sullivan satire of the ruling classes.

Gondoliers Marco (Mark Beardmore) and Giuseppe (Tony Worgan) learn that one of them need punt for a living no longer, having been born king of Barataria.  Uncertain as to who should wear the crown, both abandon their wives and take to the throne, realigning the palace with their egalitarian principles. 

The result is a socialist utopia with the co-kings performing the same menial duties as the footmen and butlers who, in turn, find themselves promoted by the addition of the words 'in-chief' to their job titles.  Outlinging this topsy-turvydom provides generous scope for some excellent musical numbers.
The energetic Beardmore and Worgan are both excellent as gushing, young romantics,head-over-heels in love for their brides Gianetta (Sheila Symes) and Tessa (Sue Cessford).  Both leading ladies bring considerable pep and ginger to the stage and deliver their respective slos beautifully.

With the flirting and merry-making in full swing, the austere ducal party sail in on the hunt for the king.
Despite his shiny top hat, gold-embroidered gown and penchant for fancy cigarillos, it appears the Duke of Plaza Toro (Steve Woolley) is somewhat down on his financial luck - a trend he hopes to reverse by marrying this monarch to his daughter (Gillian Olewicz) who carries her own regal presence, dressed rather like Queen Victoria in flowing purple cape.  The Duke and Duchess (Rowena Ayres) are a joy to watch as they chide and tease each other.  Woolley is a very smooth mover who, when not directing and acting, takes care ot the choreography as well.

The Inquisitor, with a fondness for torture instruments, the magnificently-named Don Alhambra Del Bolero, was played by Gerry Millward.  Special mention should be afforded to his beard which refused to bend to gravity however likely it seemed it would drop into the nearest canal. 

"The Mikado" is one of the most popular of the Gilbert and Sullivan operettas and lends itself to modern staging ideas.  Steve Woolley's production was certainly full of new inovations: bowler hatted Japanese gentlemen,      Nanki-Poo's entrance on a bicycle, Poo-Bah's arrival in a wheelchair while smoking a cigar and certain alterations to the original lyrics. 

The production had a high standard of singing and acting.  Mark Beardmore, as Nanki-Poo, was a revelation, both in the clarity of his voice and the effectiveness of his stage presence.  Sue Cessford, as Yum-Yum, was a perfect foil to her lover, and her rendition of "The sun Whose Rays Are All Ablaze" was very moving.  Gerry Millward gave the impression that he thoroughly enjoyed the part of Pooh-Bah and convincingly conveyed his many positions as Lord High Everything Else.  Steve Woolley, as well as directing, took the role of Ko-Ko, the Lord High Executioner, and produced a lively and polished interpretation.

One always imagines the Mikado as a forceful and frightening individual but, in the hands of Iain Arnold, he came across as rather nice a person.

The mature schoolgirls and the unusually dressed nobles added their musical skills to the proceedings.
The small orchestra under the excellent musical directorship of Richard Jones, gave first-rate accompaniment to the singers.