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 Martins Bank
Operatic Society in Iolanthe by Gilbert and Sullivan
Staged: 24
to 28 February 1959 at the Crane Theatre Liverpool
Martins Bank operatic
Society chooses “Iolanthe” for its 1959 production, and as usual everyone
throws themselves into staging the kind of lavish spectacle that audiences have grown to expect from them.
This time there were the usual five nights on stage, plus one matinee
performance. Despite shortages in some roles and the male chorus, the show
must go on, and the Society was grateful to the many who came forward to fill
the gaps. It seems that at this point
in the society’s history, a shortage of singers to fill the major parts of
large productions is a real problem, but one that is always overcome before
opening night through a combination of willing late volunteers, and
occasionally the “borrowing” of singers from the operatic societies of rival
banks! These are times when
competition between individual amateur operatic and dramatic societies is
really fierce, and with the prestige of cups and medals to be won, Martins
Bank’s Operatic Society is used to the meticulous planning and discipline
that go toward making a hit show memorable for years to come. Martins Bank Magazine takes off its
metaphorical hat to all concerned with “Iolanthe” in the following article
from its Spring 1959 Issue. They
praise everyone who brought the show to the stage, giving a special bouquet
for “Iolanthe” herself, played by Jill Winship…
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 THE Operatic Society presented
“Iolanthe” at the Crane Theatre, Liverpool, for five nights, February 24th
to 28th, plus a matinee on the Saturday. This was their eleventh production
since the Society was formed, and really, when one considers the difficulties,
financial, casting and rehearsal which face the amateur producers of these
operas, the five-nights run seems little short of a miraculous achievement.
We have never ceased to admire the courage, enthusiasm and skill of
everyone concerned and the result has never failed to give us pleasure and
to make us proud of the Society, and proud to bring our friends to see each
of the shows. It is against this background that our appraisal of the
present production should be considered.
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The Chorus of Peers
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We are
greatly indebted to a number of good friends who came to our rescue and
helped to swell the ranks of the male chorus and to fill some of the
principal parts: without their help we could not have succeeded. But what a
pity it is that with the great concentration of staff we have in the
Liverpool District we seem unable to be musically self-supporting,
especially so far as principal parts are concerned. Taken as a whole the
production did not measure up to the standard of the last four productions,
and this was partly due to weaknesses on the male chorus side. In the first
act there was a certain lack of verve and sparkle and only in the finale
did it really live—giving us a tantalising taste of how much
better it could have been with a bit more ginger.
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Jack holroyd and
Valerie Parish
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A striking example of this
was to be found in the performance of Terence Egan as the Lord Chancellor.
His singing was good and his enunciation clear but his first-act
performance was lifeless. In the second act he lived the part and the
audience responded and brought him back four times, the night we were
there, for one of his songs. J. Robertshaw was happily cast as the Earl of
Mountararat and gave one of his best performances. W. Lawler, with his
monocle, was a very impressive Earl Tolloller and his pleasing tenor voice
rendered the various songs delightfully. Private Willis was played by
Marshall Hesketh. The part really needs a strong, deep voice, but despite a
handicap in this direction, the performance was a creditable one. Jack
Holroyd played Strephon. He has sung for us before, and once again he sang
charmingly while his portrayal of the part was very good indeed.
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Marshall Hesketh and
Phyllis Ritchie
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Phyllis Ritchie as the
Queen of the Fairies was a truly regal figure and her presence dominated the
stage each time she appeared. She sang her songs with great feeling and
clarity and hers was one of the best performances of the show. The top performance of the show, however,
was undoubtedly given by Jill Winship as Iolanthe. For beauty of
appearance, grace, and the wistful loveliness of her singing she gave a
performance worth remembering. The three principal fairies were portrayed
by Sheila Mealey, Pamela Rooke and Valerie Tilley. They were in truth a
lovely trio and their sweet voices and pleasant acting set the standard
high for the whole chorus. Valerie
Parish played Phyllis, the Arcadian Shepherdess.
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 The Chorus of
Peers and Fairies
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Her attractive figure,
beautifully dressed, and her lovely voice combined to make each of her
appearances a visual and aural pleasure. The chorus of fairies was
considerably aided in its task by the presence amongst its numbers of solo
singers of the quality of Mary Nelson and Hilary Webster and the result was
excellent. May Collins produced the opera. She had the misfortune to fall
down the Green Room staircase during the first act on the first night,
breaking her arm. Despite the resulting pain and discomfort she pluckily
carried on and turned up each night throughout the week. We thank her and
congratulate her on the result of her untiring efforts. The Musical
Director was Donald H. Gilroy, doing the job for the first time. He
deserved every praise and encouragement for his efforts. Tempo was
excellent throughout and he handled his orchestra with great skill. Thanks
are due also to the team of back-room boys and girls who performed a large
task wrth great efficiency and despatch.
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G
 M
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