The Grand Duke

The Grand Duke is somewhat of a white elephant in the Gilbert and Sullivan canon, and is rarely performed, even by G&S societies (this may well be only the fourth production ever in WA in 125 years). Despite its convoluted and complex plot, it does have some lovely songs and the fact it is a show about actors, will add some extra fun for many theatre fans.

The plot is much too tricky to go into here, but it concerns a theatrical troupe in the Grand Duchy of Pfenning Halbfennig, who plan to overthrow the Grand Duke, but things go awry. There are some gorgeous modern allusions, and some clever directorial additions to watch for.

Wardrobe mistresses Veronica Hudson and Gail Reading have done a lovely job creating Bavarian style costuming to create a genuine Pfenning Halbfennig feel, as well as Classical Greek costumes for a production of Troilus and Cressida, and some fun individual characters including the gorgeous very British costume for Julia Jellicoe (created by Marjorie De Caux) and the delightful dress worn by the Princess of Monte Carlo. Simple but very effective sets were created by Barry Boyd, giving each act a very different look. Emotive lighting choices from designer Rhys Pottinger add to the great look of this show.

The show opens at a pre-wedding breakfast for Ludwig and his young bride Lisa. Michael Cummins is solid and effective in the central role of Ludwig, while Aimee-Rose Keppler is lovely in her first operatic lead role - showing an Ophelia-esque descent into near-madness throughout the show, which is beautifully crafted.

Lisa is only one of many brides that Ludwig will have during this show (which covers a period of just over a day). Another is Julia Jellicoe, a leading actress and huge personality. As the only Brit in the play, she speaks with a strong Germanic accent, because everyone else is presumably speaking German (although we hear it in English). Belinda Butler’s performance is simply outstanding and steals the show at many points. Emma Hazell is lovely as another bride, the serious and frugal Baroness von Krakenfeld, with Jessica Karauria as The Princess of Monte Carlo nicely completing the set.

Justin Freind, in his third stint performing the role of Ernest Dummkopf (which is possibly a world record given the infrequency of this operetta), is an absolute delight, while Mark Thompson is an audience favourite, sporting a Scottish accent as Rudolph the Grand Duke. Robrecht Herfkens is strong and efficient as lawyer Dr Tannhauser, with Glenn Rowan completing the principals in good humour as the Prince of Monte Carlo.

A hardworking ensemble provide strong support with many having little moments to shine including Jessica Karauria, Rebecca Brockwell and Vanessa Coopers lovely trio, Alister Walters nice cameo as Ben Hashbaz, Zac Porter’s doctor and Nicholas Navarra’s herald.

Musical Director Michael Brett leads a talented twenty-one-piece orchestra, which sounds great throughout. Singing is beautiful - but it is difficult to discern lyrics much of the time - a shame as Gilbert’s libretto can be so witty.

A must see for the true Gilbert and Sullivan fans, for fans of the backstage musicals and shows-within-shows and for those looking for something a bit different.

Kimberley Shaw