This was, in many respects, a year of consolidation for the Festival. For the first time since Year Two, the Festival was located only in Buxton (albeit, for three days longer than in the past). There is no active talk of returning to American anytime soon, nor to other venues such as Australia. The programme was resolutely safe, with no performances of "Utopia Limited," "The Grand Duke," or any of Sullivan's operas from the 1890's. The Festival's most adventurous bit of programming was an orchestral and operatic concert on the fifth day, which featured one piece from each of Sullivan's twenty-five operas. I was not there, but I understand it was a big hit.
Despite the least ambitious programme since Year Two, no one should think that the organizer, Ian Smith, is standing pat. For example, his organization has now purchased the venerable G&S costumiers, Barretts of Bath, now re-christened "Gilbert & Sullivan Costume Hire Ltd." The range of memorabilia offered by Smith's marketing arm, Musical Collectables, is bigger than ever. And I hear, informally, that the programme for next season will once again stretch the traditional repertoire, as it has done in the past.
One of this year's innovations fell flat -- a daytime "Festival Club." Anyone who has attended the Festivals knows about the Festival Club, which runs each evening from the final curtain till the wee hours. The Club features cabaret shows; "pot-luck" shows on many nights; and best of all, great drinks and conversation. I'm sure it seemed like a great idea to offer a daytime version of the same, but by the time I arrived (a week into the Festival), it had already been pronounced a failure. Sure enough, I went by, and the venue was all but abandoned.
Three Festival Productions were offered: "H.M.S. Pinafore" for Children, "Trial by Jury" and "Ruddigore," for adults. The first two were directed by Pamela Leighton-Bilik, who directed a children's "Trial" here last year; the latter by Alistair Donkin, who has directed Festival Productions every year.
The professional Gilbert & Sullivan Opera Company, in collaboration with the Carl Rosa Opera Company, was back with three full-scale productions. "The Mikado" returned from last year, with substantially the same cast. Peter Mulloy brought his historically-informed "Pirates of Penzance," which first appeared at the festival two years ago with semi-pro forces. And, "Iolanthe" made is first professional appearance at the Festival.
There was a new adjudicator, former D'Oyly Carte mezzo-soprano Beryl Dixon. At the point that I saw her, she had not yet found her way in the job. I am told that, early on, she was a very dragon of virtue and circumspection. But, by the time I arrived, she seemed to think that everything was "just wonderful." It seemed she hadn't found that middle ground: criticizing constructively. I always felt that I learned something from her predecessor, David Turner, even when I didn't agree with him. This was not the case the two nights that I saw Beryl Dixon.
James Newby, who was the Festival Musical Director for the first four years, has also bowed out. This year, David Steadman conducted the professionals, and the multi-talented Andrew Nicklin conducted the amateurs. All the other Festival staff were the same as in previous years.
To my eye, the Festival has matured into a stable, healthy enterprise. I sincerely hope that the experiments with American venues are done for good. I can't think of another international music festival that takes itself on the road. If the Festival can make itself a permanent institution in Great Britain, continue to elevate artistic standards, serve as the lightening rod for G&S evangelism, and offer an outlet for seldom-seen repertoire, Ian Smith and the rest of the world should be delighted.
The Houston Yeomen and the professional Iolanthe were both standing-room-only crowds, so additional marketing is not the issue, except on some of the mid-week nights. Yet, Buxton still seems the perfect Festival venue. It is an idyllically beautiful place. The whole town breathes G&S during these two and a half weeks. All of the venues are in a compact radius, and it seems everyone you see is there for one purpose: the Festival. It is difficult to imagine another place on earth where this ambiance could be duplicated.
So, I can only wish Ian Smith the best of luck at getting the economics to work out. You hear quiet complaints about this and that, but the bottom line is, overwhelmingly, people are having a wonderful time and are coming back year after year. I now have a large circle of friends that I only see in Buxton, and I can scarcely imagine missing a year. I hope the Festival will live a long and happy life.