The Gilbert and Sullivan Newsletter Archive

GILBERTIAN GOSSIP

No 45 Autumn 1997     Edited by Michael Walters



THE PIRATES OF PENZANCE. Coolmine Musical Society, St. Brigid's Gaelic Athletic Association Centre, Coolmine, Ireland. 8 November 1996.

Coolmine Musical Society was founded in 1978 and this is its fourth venture into G&S, the previous being Mikado (1984), Pirates (1986) and Trial by Jury (1989). Its members hail from north Dublin suburbs, many of which have grown up in the last twenty years. Originally, the society had hoped to perform South Pacific, but because Rathmines and Rathgar Musical Society was presenting that show for a two-week run at the Gaiety Theatre, in Dublin city centre, the performing rights of the musical were withdrawn. The hall comprised a small stage extended in front, much of the action taking place on the extention. The orchestra comprised about six young people including the pianist, all in their twenties. To audience right was a large pirate ship in which the first scene (to the end of "I am a Pirate King") took place. The action was cramped because of lack of space, however the idea was good.

Robert Graham (new to the society) played Samuel. A portly gentleman leaning on a crutch like Long John Silver, he played with a West Country accent. His acting and singing abilities will be a great asset to the society in the coming years. Pat Curran played the Pirate King competently and sang well, but there was little characterisation of the part. His voice was baritone, not bass. He was bearded, but did not wear a Louis XIV wig. Paul Kelly was a young Frederic, but is an inexperienced singer and it showed. Paula Fay played Ruth for laughs, but failed to get any. She spent most of her time pulling faces and holding her hands out from her chest. Her singing voice was very light, and she was unable to portray pathos. She had a costume change for Act Two (why?) and came on with the Pirates for "With cat-like tread", remaining for the rest of the Act. The Paradox Trio was played as though it were a turn in the music-hall. Major-General Stanley's daughters were all occupied during "Climbing over rocky mountain" with various occupations: catching butterflies, skipping, sketching, catching and throwing a ball, reading, etc. None of them listened to either Edith or Kate. Pauline Dalton was a strong Edith and Maria Hodgins sang Kate well, though she was directed to extend her arms while singing minims, thus knocking her companions down. Ellen McElroy was a strong singer, though she could not quite get the top notes in "Poor wand'ring one"; they were sung quietly. Unfortunately she was made to behave like a harridan when talking to the police.

Jimmy Sheridan was a straight Major-General, though without personality and a tendency to deliver his lines a little quickly. He had three changes of costume - a white tunic in Act One, a smoking jacket and cap at the beginning of Act Two and a dressing gown at the end. [Isn't this idea taken from the first New D'Oyly Carte production? Ed.] The only encore was for "I am the very model". Thankfully, only one liberty was taken with the text: "When I know what at once is meant by 'cello and a bass violin" (looking straight at orchestra - ha! ha!); the reprise "In short, in matters vegetable", etc., was taken at double the speed as traditional. He sang the pirates' and policeman's parts in the ensembles. Other additions included - King: We are rough men. Pirates: Ruff, ruff. King: Down boys; and a groan from the orchestra when the Major-General sang "and tossed and turned and groaned". The Sergeant of Police "booked" the timpanist for not hitting the triangle after "village chime" in "When a felon's not engaged". P.J. Curry was a very fat Sergeant and it was strange to hear Gilbert's dialogue spoken with a Dublin accent.

The scenery showed many rocks; some of the South Pacific scenery must have been used, because there were a lot of palm trees (of course, palm trees do grow in Cornwall). There was nothing to indicate a ruined chapel in the second Act - but the full moon was quite beautiful on the backcloth. Sullivan's music was played without any alteration - we even had a full overture - quite a rare occurence these days. Donal Russell was the MD. During the "walk-down" part of the overture was repeated, and after the curtain calls the finale to Act One (from "Here's a first-rate opportunity" onwards). The Director was Carol O'Byrne. The audience comprised a few elderly people and many young people - schoolchildren and teenagers. It warmed my heart to hear a twelve-year old girl say: "Very good, isn't it?".

DAVID SKELLY



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