The Gondoliers

Gilbert and Sullivan’s operettas (or the best of them, at any rate) have survived the passage of time in remarkably fine shape, as demonstrated by this delightful production. The practitioners of SALOS have once more succeeded at putting good vibes and talented performers on their stage, with the end result being a thoroughly satisfied audience, and a reputation that deserves to grow ever more esteemed.

The story that The Gondoliers tells is a lighthearted and romantic one, with strong appeal to those who are infatuated with the idea of ‘royalty’, as well as anyone who likes an element of ‘mysterious identity’ in their theatre. The climactic twists/turns/revelations of the plot might well be visible to you from no more than thirty minutes into the show, but predictability does not detract from the fun; indeed, it may even add to the fun!

The principal performers bring a well-balanced mixture of personality and virtuosity to their musical roles, and characterisations are fun and engaging without ever being excessive or silly. Particularly impressive and memorable is Megan Donald, playing gondolier wife Tessa with ample expressiveness and enthusiasm; it’s clear that the limelight loves her. Damon Hill and Christine Southby are a hilarious hoot as the Duke and Duchess of Plaza Toro, while David Roberts superbly embodies Don Alhambra Del Bolero, seeming to have stepped right out of commedia dell’arte.

Costume design is perfectly judged; it’s as bright and happy as the performances. Scenery is what it needs to be without anything unnecessary to upstage or distract from the business at hand. The small group of musicians seated side-stage are consistently impressive without needing to call attention to themselves; they serve the show as well as any musos could.

The joy of attending The Gondoliers in this incarnation largely stems from the way that every person on stage seemed to have having such a joyful time. The SALOS crew deserve to be most proud of themselves.

Anthony Vawser