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MARTINS BANK OPERATIC SOCIETY - LIVERPOOL

 

Martins Bank Operatic Society in The Gondoliers by Gilbert and Sullivan

Staged: 17 to 21 March 1964 at the Crane Theatre Liverpool

Under the musical direction of Geoffrey Kelly, Martins Bank Operatic Society presents another tour-de-force in the form of their 1964 production of “The Gondoliers”.  Previously staged by Martins Bank Society of the Arts both in 1948 and 1955, revisiting this much loved favourite hits the right chord with everyone, from audience to the critics themselves, who are especially enthralled by the spectacle and professionalism of the whole thing.  As Martins Bank Magazine points out, at that time it was rare for a newspaper to devote so much column space to an amateur production.  Geoff Kelly is at the height of his creativity here, inspired by the d’Oyly Carte productions of Gilbert and Sullivan, his meticulous attention to detail shows clearly, and it is no wonder that “The Gondoliers” wins Martins Bank Operatic Society the Leonard Osborn Trophy for the FOURTH successive year. We start with the local newspaper coverage of this year’s production, followed the illustrated review of “The Gondoliers” from Martins Bank Magazine. Finally, more news coverage, this time of Martins Bank Operatic Society’s FOURTH Osborn Trophy win… 

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Liverpool Daily Post March 1964 – “The Bankers’ Novel Note

Martins Bank Operatic Society are this week presenting that favourite Gilbert and Sullivan opera “The Gondoliers” at Crane Theatre, Liverpool. With May Collins as a director punctiliously faithful to the honoured traditions and young Geoffrey Kelly a conductor of some restraint and fastidiousness which valuably assist the vocalists, it is a capable production with a cast of sixty and orchestra of sixteen. It has not quite the romping quality of “ a right-down regular royal” version. But “ The Gondoliers ” is one of the best singing operas in the canon and the scenic settings, especially in Old Venice, here strike a novel note. Bill Bethell is a tower of strength. capturing the urbanity and portly mien of the Grand Inquisitor without any shadow of doubt. Barrie Stevenson, as the Duke, cultivates a sprightly, whimsical presence and presides over the dancing lesson with airy elegance. That number is charmingly done as a whole. Phyllis M. Ritchie makes a convincingly courtly Duchess, and the best of an unpromising marriage. Their pretty daughter Casilda is most melodiously enacted by Val Tilley, who has come on vocally by leaps and bounds. Her anxious romance with Luiz, her father's attendant (William Lawler) furnishes some eloquent passages, such as “There was a time.” Bill Morris and Jack Holroyd portray the gondoliers Giuseppe and Marco with the necessary amusing equivocation. They become joint-monarchs of Barataria,    since nobody knows which is the legitimate heir. As their contadine brides (or is it only one bride?) we have Jill Kelly and Lynn Griffith. In the end there are three pairs of sparkling eyes, while the cachucha, fandango and bolero retain all their customary magic and appeal.

Liverpool Echo 26 March 1964 – “With the Amateurs”

Gilbert and Sullivan’s comic opera “The Gondoliers” was the choice of Martins Bank Operatic Society for the presentation at Crane Theatre, produced by May Collins. This opera was well staged in a striking setting of the Piazetta. Venice, created by Crane Theatre and the musical direction was under the capable and con vivace baton of Geoffrey Kelly. Marco (Jack Holroyd) and Giuseppe (Bill Morris) played well together and their voices had a suitable blending. with Marco’s “Pair of sparkling eyes” succeeding. Casilda (Val Tilley) was inclined to sacrifice diction for musical endeavour but she was at her best in the recitative and duet with Luiz (William Lawler). Barrie Stevenson (Dyke of Plaza-Toro) had a line sense of comedy and Bill Bethell was a Grand Inquisitor in the true Gilbertian tradition. Gianetta (Lynn Griffiths) and Tessa (Jill Kelly) were delightful but the latter required much more projection. This Society excelled in its teamwork and the strength of the principals was in their conceited works rather than in their solos.

 

1959 01.jpgIn a contemplative fashion and a tranquil frame of mind' one looks back on the Operatic Society's production at Crane Theatre, Liverpool, over five nights and one matinee from March 17th to 21st.  The critics of both the Liverpool Daily Post and the Liverpool Echo—experienced men and quick to praise or criticise—gave this production high commendation and it is rare indeed for a newspaper to spread a photograph across the head of five columns.  What then is left for our roving reporter to add?  Have we 'one little grievance we'd like to ventilate?'  Sorry.  No.  On the back of the brightly produced programme are four words scribbled during the show—Colourful, Verve, Delightful, Together, and these sum up the whole entertainment. We need say no more about the colour for there is the photograph but Bill Morris and Jack Holroyd in 'sportin' pink' were a startling opening to Act 2.

The Full Company

Verve came at the outset with Ian Wilson as Antonio sweeping up the audience and landing them willy-nilly amongst the gay gondoliers, where they stayed, far more at home than watching remotely from the stalls and circle.  They really had no option (and would probably not have exercised it anyway) for from the first chorus there was applause and then more applause as the opera unwound.  There was Barrie Stevenson's likeably silly Duke of Plaza-Toro who endeared himself to old and young, traditionalist or otherwise, and apparently surprised himself by momen­tarily doing the twist; William Lawler, sub­dued yet convincing, as Attendant and then as King; Bill Bethell commanding, polished, but engaging, as the Grand Inquisitor.

Valerie Tilley Jack Holroyd Barrie Stevenson Phyllis Ritchie Bill Morris

Jack Holroyd and Bill Morris as Marco and Giuseppe and their wives—Lynn Griffiths as Gianetta and Jill Kelly as Tessa made as happy a vocal and musical foursome as anyone could have wished-spontaneous humour wed to  frolicsome charm.  Phyllis Ritchie as the Duchess, right royally offsetting her buffooning husband, and Valerie Tilley as her daughter Casilda, aloof but with a lovely voice, made the most of their parts while the other principals Evan Jones, Frank Cohen and Peter Swinton with Nancy Klass, Joan Venn and Pamela Rooke, maintained the lively tone and the high standard throughout. Inez, played by Evelyn Winship, added her own quietly convincing touch at the end.  Of the chorus of gondoliers, men-at arms, heralds and pages (and one of these, Robert Jones, is a born scene-stealer!) one might ask how it was possible to keep the audience with them throughout.  Perhaps it is that 'when ev-er-ee-one i-is some bod-ee then no-one's any-body'. These men who trans­formed themselves from happy gondoliers into gentlemen of the court, and the ladies who maintained sparkling eyes and vivacity throughout the two and a half hours of each performance must surely have gone home 'with the gratifying pleasure that our duty has been done’. 

Lynn Griffiths Bill Bethell and Jill Kelly

The success of the show was not only due to the players but to the skilled production by May Collins and to the musical direction of Geoff Kelly who held players and musicians together so well but, as always, so unobtrusively.  For those who went to the Crane Theatre it was indeed a 'gratifying pleasure' and-if one may just quote G & S once more-'of that there is no shadow of doubt... no possible doubt whatever.'

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Liverpool Daily Post – MBOS Wins Osborn Trophy April 1964

Confirmation that Merseyside has more to offer musically than battalions of beat, was produced at the Y.M.C.A., Mount Pleasant, Liverpool, on Saturday. It is extremely unlikely, however, that any of the 250 or more operatic enthusiasts who gathered there saw their visit in this particular light. All they wanted to do was derive full benefit from what amounted to a sizeable Gilbert and Sullivan jamboree. This was a joint meeting of the Liverpool, Manchester, West Riding and Birmingham branches of Britain s forty - year – old Gilbert and Sullivan Society. The meeting began with an afternoon session of quizzes and panel games broadly based on the Victorian works of Sir William Schwenck Gilbert and Sir Arthur Seymour Sullivan. This over, a capacity audience     settled  at the Large Hall to enjoy what has become one of the highlights of Merseyside’s amateur operatic year—the Liverpool branch’s annual Leonard Osborn Trophy Contest. The contest started six years ago, after Leonard Osborn, then principal tenor with the famous D’Oyly Carte Company and president of the Liverpool branch, had presented a trophy for a Gilbert and Sullivan competition between Merseyside’s amateur operatic societies. There are six amateur operatic societies on Merseyside who specialise in Gilbert and Sullivan and Mr Osborn’s trophy contest quickly caught their imagination. Saturday’s entry — ten teams from three societies — was the biggest yet. Highest points and the trophy went to one of the three Martins Bank Operatic Society’s teams. The winning excerpt was taken from Act Two of “The Gondoliers” and extended the musical bank workers’ run of success in the contest to four successive years. Martins did well to hold the trophy because their great rivals, the Bentley Society had entered six teams to try and regain the silver cup which they carried off for the first two years of the contest. The odd team out in this Martins-Bentley dominated contest came from the Rock Ferry Amateur Operatic Society. Prizes for the best individual performances outside the winning team went to Miss Elsie Kelly and Mr Brian Smith of the Bentley Society.

Liverpool Echo – MBOS Wins Osborn Trophy April 1964

Fourth Win In G. And S. Contest Martins Bank Amateur Operatic Society won the Leonard Osborn Trophy Contest, which is held by the Liverpool branch of the Gilbert & Sullivan Society, for the fourth successive year on Saturday night. The society’s winning run was extended by one of three teams they entered for the trophy contest. But the individual prizes for the best performances outside the winning team went to Miss Elsie Kelly and Mr. Brian Smith. two members of the six teams entered by the Bentley Amateur Operatic Society.

A team from the Rock Ferry Amateur Operatic Society completed the biggest entry in the six-year history of the contest.  And the Large Hall at the Y.M.C.A., Mount Pleasant, Liverpool, was packed to see it. Each team had to present an excerpt of between seven and 15 minutes from one of Gilbert & Sullivan’s operas without the aid of costume or props. The winning excerpt was from Act 2 of “The Gondoliers.” The concert was preceded on Saturday afternoon by a joint meeting between the Liverpool. Manchester, West Riding and Birmingham branches of the 40-years-old Gilbert & Sullivan Society.

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