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 Martins Bank Operatic Society in Princess
Ida by Gilbert and Sullivan
Staged: 23/03/1965 at
the Crane Theatre Liverpool
 The players and technicians of Martins Bank Operatic Society take to
the stage once more with this beautifully realised and colourful rendering of
“Princess Ida”. In its Summer 1965 Edition, Martins Bank Magazine has invited
various Branch Secretaries to turn reporter, and to produce many of the
magazine’s regular articles and features.
For “Princess Ida”, Glenys Warburton, secretary at Liverpool Aintree
Branch, is asked to take her shorthand notebook along to the theatre, and
describe the performance to us. Glenys begins by reminding that the Operatic
Society has won several awards, and before anyone has sung even a single
note, the costumes, scenery and sheer pageantry of this production of
“Princess Ida”, demonstrate that it is not hard to see why...
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 WAITING for the curtain to go up is always a thrill
whether for an amateur production or otherwise and when you know that the
Bank’s Operatic Society have won the Leonard Osborn Trophy from 1961 to
1964 you expect much. Let me say at once that in this production you were
not disappointed.
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Lady Blanche
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Congratulations to the musical director,
Geoffrey Kelly, for the well-trained singing of principals and chorus; how
nice to hear an orchestra playing as accompanists to the artistes and not
vice versa. Congratulations also to the producer, May Collins, for good
groupings, business and effects. The story of Princess Ida is rather
complicated but in a nutshell is about the Princess who, betrothed in
infancy to Prince Hilarion, decides on maturity to denounce man and open an
academy for ladies on such lines; and the efforts of the Prince, with his
friends, to win the Princess and show her the folly of her ways. The part
of Princess Ida was played by Mary Nelson (pictured, right) who both sang
and acted well. Gerard Martin as Prince Hilarion was equal to the demands
Of his part and was ably supported by Jack Holroyd and Frank Cohen as Cyril
and Florian, his friends. These three virtually stopped the show with their
song 'I am a maiden'. Phyllis Ritchie (left) gave a most telling
performance as Lady Blanche, particularly with her 'must, maybe and shall'
theory, and Val Tilley, as her daughter Melissa, gave a polished
performance and was at her best gazing on a man for the first time and
falling for what she saw. Nancy Klass gave all that was expected in her
performance as Lady Psyche.
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Princess Ida
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Bill Bethell as the authoritative King
Hildebrand and Barrie Stevenson as the detestable King Gama gave extremely
good studies of these characters, and none sustained their parts better
than Ian Wilson, Ernest Dean and Philip Brayshaw as the 'not intelligent'
sons of King Gama; even the weight of their armour was not too much for
them to carry. The chorus are to be congratulated on some splendid singing
and stage work which was a joy to hear and see. On my way home my thoughts
were full of the show and the highlights. From curtain-up the many colours
of the splendid costumes were always pleasant to look at and the company
wore them as though they were their normal attire.
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The Two Kings
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Remembered particularly were the
pictures made by the groupings and the lovely- singing. Of the many duets
none was more enjoyable than that by Lady Blanche and Melissa 'Now wouldn't
you like', which well deserved the encore. The entrance of Princess Ida
with her lovely solo 'Minerva' was, however, spoiled for me as she was
almost hidden by the chorus: it was a pity that she could not have come
away from the group as her voice did. Yes, there were many things to
remember and applaud, and I look forward to the next production.
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The Warrior Brother
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Florian Hilarion and Cyril
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By 1965, Martins Bank Operatic
Society is a heavyweight amongst the amateur groups, with multiple trophies
under its belt. The skill of putting together a smash hit opera each year
throughout the 1960s guarantees interest and much praise from the local
media, and Princess Ida receives good coverage in both the Liverpool Daily
Post and the Liverpool Echo…
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Liverpool Echo 2 April 1965
 Martins Bank Operatic
Society presented an infrequent appearance of Gilbert and Sullivan’s
“Princess Ida” at Crane Theatre, produced by May Collins with Geoffrey
Kelly as musical director, for which
ardent Savoyards will be truly grateful. This society has strength in both
the singing and the acting spheres and the presentation had lots to commend
it. The large chorus of soldiers, courtiers and girl graduates was well
handled but occasionally a weakness in grouping lessened the impact of the
dominant characters. Bill Bethell’s King Hildebrand and Barrie Stevenson’s
King Gama were excellent contrasting portrayals the latter showing a great
degree of his disagreeableness. Mary Nelson as Ida showed great panache in
this exacting role and good control in the higher registers. Ian Wilson as
Arac, one of Gama’s “ not intelligent ” warrior sons gave an outstanding
rendering of the part, vocally, while Phyllis M. Ritchie as Lady Blanche
was hold and vigorous and Vail Tilley, as Melissa her daughter, gave a
charming performance which captivated all with her winsomeness. Their duet
was one of the highlights of an outstanding presentation in which the work
of all the principals merits great acclaim.
Liverpool Daily Post 2 April 1965
 Large numbers are
obviously grateful to the Martins Bank Operatic Society of Merseyside for
this week’s rare chance to see Gilbert and Sullivan’s “Princess Ida,” at
Crane Theatre, Liverpool. Its very
unfamiliarity results in an attentive, eloquent performance, produced by
Mav Collins and musically directed by Geoffrey Kelly with just the right
atmosphere. There is an excellent orchestra, strong in the strings. The
peppery King Hildebrand and mean little wizened King Gama of Hungary are
effectively contrasted by Bill Bethell and Barrie Stevenson. Their
children. Hilarion and Ida (an attractive hero and heroine as sung by
Gerard Martin and Mary Nelson) were married as infants. Now Ida is of age
and should join her husband. But she hates (or imagines she hates) the
tyranny of Darwinian man. So, she is running an all-women’s university at
Castle Adamant. Don’t imagine it old fashioned. These ladies intend to send
a wire to the moon, to cross the Polar Ocean and we hear of co-existence.
Not bad foresight for eighty-one years ago!
To the feminine stronghold
To that feminine stronghold go Hilarion and his friends
Cyril and Florian (Jack Holroyd. Frank Cohen). They meet the ambitious
deputy-principal Blanche (Florian’s sister), in Which role Phyllis M.
Ritchie grandly invokes “the mighty Must, inevitable Shall.” Her gentle
daughter, Melissa, who has never seen a man before, is charmingly
represented by Val Tilley. And Nancy Klass lends wit and grace, too. as
Professor Psyche. One of the big hits of the show is the ludicrous
triumvirate of Gama’s warrior-sons (Ian Wilson, Ernest Dean, Philip
Brayshaw) bearded and weighed down with their armour. Like all in this
large company, they are accomplished vocalists. For each of the past four
years, this society have won the Leonard Osborn trophy, and I am not
surprised. S.J.
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 M
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