Tarantara! Tarantara!

For those of us who love the toe-tapping canon of Gilbert & Sullivan, (G&S) Tarantara! Tarantara! is the perfect box of mixed favourite chocolates. Performed by the G & S Society, the book is by Ian Taylor, with songs by Gilbert and Sullivan. Telling the story of Gilbert and Sullivan - their disputes, their triumphs and their failures, with the bonus of G&S works threaded through the story – the show is a treat for lovers of their work.

Still regularly performed throughout the English-speaking world, the 14 G&S operettas constitute the most regularly performed series of operettas in history. Written between 1871 and 1896 for ensemble casts, Arthur Sullivan and WS Gilbert introduced innovations in content and form that directly influenced the development of musical theatre through the 20th century and indeed, today.

Gilbert wrote the libretti creating fanciful worlds with improbable stories that parodied the wealthy and titled, and often elevated humble people to roles of power and prestige. Having a unique style, he was part of a movement that revolutionized theatre and his work was beautifully complemented by Sullivan’s melodies that brought both rollicking joy and heartfelt pathos.

Well respected musical theatre director Richard Trevaskis leads this complex, rewarding musical and his extensive experience with, and understanding of, G&S is evident. The set by Tim De Jong and Vanessa Lee Shirley is beautifully, and accurately Victorian with colours, furniture and décor making the era immediately believable. Trevaskis has ensured that the essence of G&S is reflected in the play and the snippets within the play by paying close attention to all of the production values including tightly choreographed movement, diction and accent both in the G&S highlights and the play itself. The costume and wig teams have done very well and Trevaskis has ensured that costumes, in particular, are cleverly and appropriately used with a single clothing article swiftly and smoothly added or removed, creating a totally different character or scene. My very small criticism involves glasses, modern eye glasses, and flutes which were not the drinking glass of the era.

The play, told in sequence, tells the story of the famous Gilbert and Sullivan partnership including their meeting, their association and partnership with D'Oyly Carte, their successes, and their contrasting temperaments and ambitions. Much is also made of Gilbert's obsession with his "lozenge" story and the wedge that it created in their writing partnership; interestingly it became the accidental impetus for a new wave of creativity in their partnership. The play draws strong contrast between the licentious, self-aggrandizing lavish social life that Sullivan enjoyed and the relentless workaholic diligence that drove Gilbert. The comedy/tragedy of a one hundred and forty pound carpet bill destroying their partnership and the years prior to both of their sad, needless deaths is poignant as both men never spoke to each other again.

Nicholas Bishop as Gilbert is a seasoned G&S style performer. He uses his voice, body, face, gestures and timing to perfection and his accent and projection are excellent. The audience loved Bishop’s every move. As his foil, Paul Briske is a thoughtfully drawn, taciturn, self-important Sullivan. Both shine in supernumerary roles and are excellent ensemble players. For me, the standout performance was by Andrew Crispe as Richard D’Oyly Carte (and everyone else who he became during the interludes). He has a stage presence that elevates him to a class of his own. His performance is restrained as Carte and he is equally at home with witty and frivolous parts. Crispe’s singing, timing, carriage and stage placement appears effortless, but demonstrates his high level of focus and discipline.

The cast of 10 work particularly well when they perform together and a performer who shows strong potential is Nicholas Munday as George Grossmith. His energy and enthusiasm is palpable and while he is still developing vocally, he is the stuff that G&S is made of. Also in a smaller role, Grace Carter sang well and performed with poise and confidence. James Nicolson as Joe, a fine tenor, handles the story linking role effortlessly. Megan Doherty as Rose sings beautifully and I particularly enjoyed her work as Josephine from Pinafore.

This production is an impressive example of G&S, and whilst long, at 150 minutes plus interval, for G&S ‘tragics’ like me, who adore the satirical barbs, political incorrectness of the Victorian era and the toe tapping, sing along music, this show is a must. It deserves a good, sing along audience. The season is short so ‘Never Mind the Why and Wherefore’, musical theatre lovers should enjoy Tarantara! Tarantara! now.

Jude Hines

Photographer: Ahsan Q. Website: www.proshots.com.au