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 Martins Bank
Operatic Society in Maritza Limited by Emmerich Kalman
 Staged: 25
to 30 March 1968 at the Crane Theatre Liverpool
As the 1960s progress, boundaries are
pushed back in all parts of society as a kind rebellion against the
establishment – frighteningly dystopian architechture, a whole new youth, a
sex and drugs culture, and a craving for all things new and bold. It is therefore - at long last – time for the Operatic
Society to also “let it all hang out”, which they do in style in this
wonderful production of Emmerich Kalman’s “Maritza” over six nights in March
1968 at Liverpool’s Crane Theatre – the setting for many of the society’s
greatest triumphs. Geoffrey Kelly
consolidates his mature Musical Director’s expertise by staging this daring
opera, which offers romance, spectacle and humour, whilst demanding much of
its participants. As the last major
production before the merger process with Barclays begins, Maritza is a smash
hit of which the Operatic Society can be very proud. The following article from the Summer 1968
edition of Martins Bank Magazine, brings us the action. Remember, this is the
time when the word “GAY”,
is used to mean bright, colourful, cheerful, happy, etc…
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Being
There…
 GAY lively, entertaining - these are the words we heard used most frequently to
describe the Operatic Society's production of Maritza at Liverpool's Crane Theatre for six nights from
March 25. The Society is nothing if not venturesome these days and if few
of the audience had heard of Emmerich Kalman, composer of the musical - the
Society's third Liverpool amateur premiere - most were familiar with the
theme song 'Play, gipsy'. While the Liverpool bus strike prevented ticket
sales reaching the high level of the past two years, for the many who did
attend Maritza proved an
entertaining blend of romance and humour.
The Cast on stage in a lively dance
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Madame Iva Schnitzel
(alias Jim Roberts)
Pat Carrier and Clive Jones
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Jim
Roberts in the role of Zoupan dominated the comedy scenes and his topical
references, ranging from the sugar shortage to the Grand National, were not
lost on his audience. When in the second act he appeared as 'Madame Iva
Schnitzel', sporting gold evening shoes, fishnet tights and a plum velvet
ensemble with detachable skirt, the roars of laughter threatened to drown
his singing of 'The Pest of Budapest'.
The more
orthodox costumes were equally colourful, especially those of the dancers
whose precision was worthy of a television team: they contributed greatly
to the show's polish and were a credit to choreographer Barbara Roberts.
Much to the enjoyment of the gentlemen in the audience there were also
displays of shapely female legs from the chorus and from Pat Carrier,
playing the title role. We knew from last year's show that Pat's was a
delightful voice but as Maritza she added to her stature as an actress.
Playing
opposite her, Clive Jones gave a convincing performance as Tassilo, and his
rich tenor carried no hint of the 'flu he fought against most of the week.
Under the able direction of Geoffrey Kelly the music, full of Hungarian
verve, carried along the action con
brio. Enhancing the authentic atmosphere there was a real live
violinist on stage - Michael Hoyland as the gipsy fiddler - and
we also had a gipsy fortune teller, beautifully sung by Nancy Klass. Jean
Robinson proved an ideal foil for Jim Roberts, and Audrey Bowen, Michael
Lucas, Barbara Phillips and John Bowen gave credence to the smaller parts.
As the omnipresent butler, Cheko, veteran Cyril Cambridge gave a studied
performance, while Harold Dixon impressed with his versatility as the
excitable Baron Populescu.
Finally, a bouquet for the chorus, whose singing
reflected the varied moods of the musical. Most people's verdict was 'even
better than last year', though a show lasting over three hours may have
been a little too long for some - especially those
with trains to catch. Nevertheless, producer Eileen Bonner must have been
very gratified by the results of her efforts, and everyone must have gone
away more appreciative of Kalman the composer and richer by one evening's
entertainment.
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Cartoon by “Vern”
as featured in Liverpool Echo
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 We were delighted when Jeannie Johnson contacted
us, with her memories of being in Maritza, and many other productions
staged by the Martins Bank operatic Society throughout the sixties. In 1968
she was Jean Robinson, and in Maritza, she played the part of Lisa. She can
be seen here (left) both in a photo and a caricature of herself - As well
as her memories of Maritza, she has also found for us some photographs from
the production…
{“In my photo album I do have a number of pics of Maritza,
mostly small groups and Principals, you tended to buy the ones you
appeared in and you really felt you'd 'arrived' if Vern took the trouble to
do one of his famous cartoons!
If you think Maritza was quite daring in respect of cross dressing in 1968, just think what the Victorians must have
thought of Gilbert & Sullivan's Princess Ida in 1884! Yes, I
was in a number of the shows in the 1960's, my reason for joining Martins
Bank....... 1962/63 and 1966/1970. During 1964/65 I was too busy down
the Cavern Club running a fan club for one of the local groups - a great
time.”}
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ß LEFT:
The Ladies Chorus – as Jean points out, this production,
although written in 1924, was performed by Martins Bank Operatic Society in
1960s clothing.
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å BELOW
LEFT:
Cabaret Scene
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BELOW
RIGHT :æ
Jean, and Jim Roberts in a scene together
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