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MARTINS OPERATIC SOCIETY – 1970 to 1980

Martins Operatic Society in Orpheus in the underworld by Jacques Offenbach.

Staged: 26 to 30 March 1974 at the Neptune Theatre Liverpool

The official programme for Martins Operatic Society’s 1973 performance of GIPSY LOVE, declared that with the help of new members joining, the show they would stage in 1974 would be the best yet. It seems this was no idle boast, as Hughie Ross of the Liverpool echo’s “The Critics” column states that in his opinion ORPHEUS IN THE UNDERWORLD was indeed probably the best perforance yet given by the society! Praise indeed, and a look through the Orpheus programme reveals once more the winning recipe of our players as they combine the best of cast and crew with a sprinkling of their long experience to stage one of Jaqcues Offenbach’s best loved Operas. We are pleased to be able to bring you the review from the Liverpool Echo, which is unique in that it has its own banner headline within the column that reviews the best of the local amateur operatic and dramatic society productions on Merseyside. We can also bring you the usual synopsis of the story, and details of the cast and crew, from the official programme.

 

According to the original Greek legend, Orpheus was the greatest of all musicians, and his Mother - Calliope - the greatest poet. Orpheus derived his inspiration from his beautiful wife, Eurydice, whom he loved to distraction. Unfortunately, the rural God Aristaeus also loved Eurydice, and one day he pursued her into the woods where she trod on a snake, was bitten, and died. Heartbroken, Orpheus descended into Hell to beg the Gods of the Underworld for her return. They were so moved by his playing that they agreed, provided that Orpheus did not look back until he was once more on earth. The temptation to see if Eurydice was following was too great, and he glanced back and lost her for ever.

Offenbach's version however, requires that the audience completely forget the original story! Orpheus is indeed a musician - of sorts. He is bored with his wife, who in turn detests his preoccupation with music. She prefers a gayer life and is attracted to a shepherd - Aristaeus - who is in fact Pluto, God of the Underworld, in disguise. Eurydice decides to run away with Pluto, who promptly “ stings ” her and she dies. Pluto carries her off to Hades. Orpheus reads Eurydice’s farewell letter to him with some relief, but his mother, Calliope, is not so easily deprived of her daughter-in-law and decides to fly by balloon to Mount Olympus to appeal to the Gods to return Eurydice immediately. Orpheus, oh so reluctantly, accompanies her.

Meanwhile, on Mount Olympus, the Gods - ruled by Jupiter - relieve their boredom by listening to the gossip brought daily from Earth by Mercury. They are particularly amused by the story of Pluto’s affair with Eurydice, when they arc interrupted by the arrival of Calliope and Orpheus. Jupiter is angered by Pluto’s actions. Whilst he feels it is quite in order to have an affair .with a mortal (he often does it himself), to carry her off to Hades is against the rules! He summons Pluto to answer the charge, which, of course, Pluto denies. But Jupiter is so intrigued by the description of Eurydice that he decides to descend to Hades to see for himself. This is such a good excuse for all the rest of the Gods to do something exciting that they prevail upon Jupiter to take them with him. So, to keep the peace, he agrees to a day-trip for them all to Hades.

Eurydice is not too happy about being left alone in Hades under the surveillance of Styx - a complete fool on Earth and now charged with prison duties - and is becoming very bored. All the Gods arrive to find that Pluto has hidden Eurydice away, but Jupiter gains access to her cell by turning himself into a fly. He is entranced by her beauty and decides to keep her for himself, but Pluto has other ideas, and then there is her rightful husband to be considered. At length they decide to let her go back to Earth with her husband, provided, of course, he does not look back to see if Eurydice is following. Jupiter has still a trick up his sleeve, but in the end Orpheus and Eurydice live happily ever after - but with whom?

In the News…

In its “The Critics” Column, the Livepool Post reviews the first night of ORPHEUS IN THE UNDERWORLD, as staged by Martins Operatic Society…

Image and Text © Reach PLC and Find my Past created courtesy of

THE BRITISH LIBRARY BOARD. Image and Text reproduced with kind permission of The British Newspaper Archive

{Thoughts of the Budget were far away from the players and the audience at the Neptune Theatre last night when Martins Operatic Society had fun with the Gods in Offenbach's operetta Orpheus in the Underworld.

This updated version of the Greek legend contains some of Offenbach's most tuneful music and has more comedy than other popular operettas particularly when some modern touches are introduced, as was the case in Kenneth Jones’s production.

The cast was one of the strongest this society has assembled, notably Pat Barrow (Eurydice) and Brian Cleary, a delightful Orpheus. John Bowen made a commanding Jupiter, with Roy Harvey not too sinister as Pluto.

There was not a weak link in the many supporting roles, and other features in a refreshing show were the ballet sequences by the Wallasey Ballet School girls and the magnificent costumes.}

1974 sees a kind of “parting of the ways” for some of Martins operatic Society’s long standing members and helpers, so along with the usual list of cast and crew, the organisers of ORPHEUS IN THE UNDERWORLD take a moment to remember and thank those who worked so hard to make previous productions a success.  As in 1973, the gauntlet is thrown down to former Martins Staff and their Barclays colleagues to volunteer as new members…

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With special thanks to Mike Ellis and the late, great Beryl Creer.

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