|
|
|
|
|
James Waud as Dick Deadeye. Pictures: Francis Loney HMS Pinafore
Malvern Theatres
**** IN
the wake of the vessel that was the
all-male version of the Pirates of Penzance, Sasha Regan sails another
ship of well-toned men on to the national stage with the good ship HMS
Pinafore. Gilbert and Sullivan’s much loved operetta not
only gets a partial gender makeover, but a cool minimal underproduction
that brings this much-loved and well known, yet 138-year-old, musical
startlingly up to date. From the minimal set of iron bed bunks to the
minimal clothing, Regan certainly knows how to entice an audience. With
several moments where the men strip off showing off their physiques for
no reason other than it seems to put on something else on, she is either
exercising some feminine power or cleverly adding an element of the peep
show to her production. Yet one wonders if it was an all-female cast if
the same approach would have been taken with such a pinch of salt and
snubbery of political correctness. However, the rule here seems to be if
you have it, and most of the guys have, then flaunt it. The iron beds, PT gear and pumps certainly casts
a POW feel over the whole production and in doing so grants the
production the license to be harmlessly camp and frivolous with its
comedy. Even before the show began and with the
houselights still up, the cast saunter slowly onto stage and when one
individual did a few solitary push ups, it instantly drew a full round
of applause. That was either because most felt it beyond their own
capability or eager for the rest of the all-male display that was about
to come. Regan is still aware of the fact that they are
very gay overtones in the visual result and so this below decks love
story is carefully choreographed to remain respectful to the sensiti At times it’s hard to suspend the belief that men
are performing feminine roles as the romance is played very well and
rightly so, but it seems to all be done ` in the best possible taste.’ There are no musical
edits for the modern audience so fans of the piece will not be
disappointed. However, I detected a few bars of
Chariots of Fire
that were comically shoe horned into the score when the men appear to be
running in slow motion. This was the only injection of pantomime though
that I heard.
Tom Senior makes an impressive Ralph Rackstraw
with biceps to match. The athletic frame of Ben Irish is transformed
with a few minor draperies into Josephine although some of his high
falsetto notes penetrated the auditorium like a loose cannonball. Neil Moors seemed to be the bearded daddy of them
all and made a most amusing and likeable Captain Corcorans. Michael
Burgen reminded me very much of Ronnie Corbett in the role of Joseph
Porter with his spectacles, turned up trousers and sock suspenders. This
was even more so when he adlibbed comically when his umbrella failed to
open on cue. David McKechnie was clearly singled for not
wearing a singlet but contrasting blue denim to the others mostly pure
white outfits. His transformation into Little Buttercup was perhaps an
exercise in exaggerated camp but brought a great deal of physical comedy
to the part. Lizzi Gee’s choreography adds an air of the west
end musical to the entire proceedings but the dancing, back flips and
gymnastics add another layer to the entertainment for those that might
be waning with the music. Music Director, Richard Bates accompanies in this
piano-only version of the score but with the strong added choreography,
clever staging and lighting and the originality of the gender swap, a
trio or even band would have added greater depth, effect and balance to
the performance. Whilst most would call Gilbert and Sullivan
timeless it’s hardly at the top of a younger generation’s playlist on
their electronic device of choice. This fresh, energetic version may not
send the score on to the top of the download list but it sets a new
younger appeal in motion that borders on the successful cabaret market. This all-male H.M.S. Pinafore will keep the
ladies occupied and the guys heading out to renew their gym memberships.
It will make you laugh at the transformations and at our very British
acceptance of our unique sense of humour. In the renewed recent climate
of social tolerance and acceptance one phrase becomes poignant and
memorable in this original and entertaining production: For in spite of all temptations, To belong to
other nations, He remains an Englishman! He remains an Englishman!
To 09-07-16 Jeff Grant 05-07-16
|
|
|
|
vities
of any less than tolerant audience, and the wider audience.