Tag Archives: Chris Mundy

“H.M.S.Pinafore” at the Union Theatre

Given their success on London’s fringe theatre scene, Sasha Regan’s all male productions of Gilbert and Sullivan are much anticipated. Her latest, H.M.S. Pinafore, would seem a natural selection from the Victorian composer and lyricist’s opus – a story full of camp potential, with plenty of sailors and satire. The production lives up to expectations and also surprises.

Not content to rest on her reputation, Regan adds a sense of melancholy to the usual wit and fun. The cast are deliberately presented as though improvising, and so the production opens up some interesting questions: are we here to watch ‘real’ sailors aboard a ship, prisoners of war trying to alleviate boredom, or possibly children at a boarding school? It’s a brilliantly original twist that will win your heart.

Rough and ready staging becomes a powerful tool. So much is achieved with just ropes and kit boxes. The design from Ryan Dawson-Laight, full of inspired touches, including shirt collars used as millinery, contributes to making this show immediate and involving – bunk beds have never been this much fun. And that’s saying something.

From the heroic sailor Ralph, an appropriately dashing Tom Senior, fighting for his love to his Captain’s daughter Josephine, played by Bex Roberts (a  male  actor, to clarify), the cast sound fantastic. As her father the Captain, Benjamin Vivian-Jones is magnificent, bringing out the laughs and in fine voice. Ciarán O’Driscoll renders buttercup, the “plump and pleasing person” who is the key to the ‘topsy-turvy’ story, both loveable and formidable. Accounting for the highest and the lowest in this magnificent class comedy, Lee Van Geleen impresses with his fantastically powerful voice as the dastardly Dick Deadeye and David McKenchnie gives a superb comic performance as The Rt. Hon. Sir Joseph Porter, K.C.B.

The inventive staging by Regan, along with fantastic choreography from Lizzi Gee, is a constant delight. The ensemble show their talent, morphing from exercising studs into the gaggle of “sisters, cousins and aunts” that accompany the Rt.Hon, for comic touches a plenty. Special note has to be given to be given to Richard Russell Edwards as Hebe, who can swoon with the best of them. And finally, underpinning all this is the musical adaptation from Michael England and Chris Mundy, extracting the spirit of the score with an intelligent transformation accommodating all male voices.

Even if you’re a G&S fan of a more traditional persuasion, you’re still going to love Regan’s work. There is a reverence here in the best sense of the word – a genuine enthusiasm and love of the piece that is infectious. This is one of the best shows I’ve seen this year and although it’s only November, and there are plenty of exciting things coming up, I doubt it will be bettered in 2013.

Until 30 November 2013

www.uniontheatre.biz

Written 4 November 2013 for The London Magazine

“Iolanthe” at the Union Theatre

Gilbert and Sullivan are a guilty pleasure. Those confessing admiration can face polite confusion or, at worst, a disdain that might suggest S&M is more acceptable than G&S. There have been many attempts to change opinions about Gilbert and Sullivan but none more liberating than Sasha Regan’s work at the Union Theatre. Her new production of Iolanthe continues this campaign – it is joyous, fun and simply unmissable.

Iolanthe is quite as silly as any other G&S. It’s the one about fairies and the House of Lords. With Regan’s trademark all-male cast, you can imagine where this is heading. But Regan is too clever a director to make things crass, no matter how camp they become. With a nod to Narnia, the action takes place at a school and the magic begins when the costume wardrobe is opened.

This isn’t Gilbert and Sullivan forced into the 21st century. Regan’s masterstroke is not to patronise these eminent Victorians. Gilbert’s satire is still razor sharp and Sullivan’s uncanny ability to write a popular tune ageless. Regan brings out the humour and Chris Mundy’s solo piano accompaniment is a superb interpretation of the score.

The real pay off comes not from innuendo but from sincerity. Victorians could be soppy and G&S were no exception. But Regan allows this so that, behind the laughs, this Iolanthe is sweat. With fairies dressed in furs and pearls and lords wearing conker chains of office, you smile all the way through, while the sentiment washes over you. It is a combination that can only be described as sophisticated.

There is a palpable sense of excitement from a talented cast. Christopher Finn takes the title role in his stride and Shaun McCourt deals impeccably with the Lord Chancellor’s tongue-tying lyrics. It is great to see Alan Richardson at the Union once more. His terrific voice is matched by an endearing stage presence. Kris Manuel is unforgettable in the role of the Fairy Queen, while Matthew James Willis’s Harry Potter-inspired Earl, and Raymond Tait as Private Willis, show off their voices particularly well.

This really is an ensemble piece, as the cast all perform in the equally fantastic realms of the supernatural and the political. As both tripping fairies and noble lords they faultlessly do justice to Mark Smith’s witty choreography. Like the whole production, Smith’s work isn’t just delightful – it is bold and interesting. His use of sign language in dance creates a new level of meaning that complements the humour and excitement of the piece. Regan should join her team on stage as they hold their heads up high when the lords all marry and become fairies themselves! Gilbert and Sullivan fans can come out of the closet at last.

www.uniontheatre.biz

Until 11 December 2010

Photo by Ben de Wynter

Written 23 November 2010 for The London Magazine