1983 – Merrie England

Merrie England

by Edward German

Monday, 24th October to Saturday, 29th October, 1983
North Bromsgrove High School

Synopsis

“Merrie England” is a fictionalised account of an incident that occured in about 1592. It displays the three major themes of Elizabethan courtly life, ‘Love’, ‘Honour’ and ‘Duty’ – as derived from Castiglione’s influential volume ‘The Book of the Courtier’.

These themes echo at two levels, the ‘rustics’ providing both a mirror to and a comic relief from the Court of Elizabeth I.

The story is as follows:

It is May Day, the May Queen is to be crowned and all the rustic menfolk vie for her favour – all except Long Tom, Royal Forrester who loves Jill, the innocent woodland maid.

Consternation and confusion! The May Queen is jealous and accuses Jill of bewitching Long Tom. A ‘hue and cry’ ensues.

Sir Walter Raleigh and Bessie Throckmorton declare their love in a subtle and noble fashion. But he is supposed to love Queen Elizabeth, who expects all noblemen to love and admire her alone. He has written an ‘acrostic’ (a poem in riddle form) using Bessie’s initials in order to declare his love. Raleigh wants to tell the Queen of his feelings, but Bessie is afraid of the Queen’s well-known jealousy and anger.

Essex overhears the Bessie-Walter declaration and decides to disclose all to the Queen in order to cause trouble and to use the Queen’s displeasure to his advantage.

Walter Wilkins has also similarly caused trouble for Long Tom and Jill and also pretends to be enamoured of the May Queen. He encourages the notion of Jill’s witchcraft and pretends to be the May Queen’s champion while hiding behind any character close by.

Queen Elizabeth now enters and is confronted by the Essex-Wilkins disclosures, the acrostic initials are the same as hers, there is confusion again, but Raleigh, as the model of the Courtly Gentleman, refuses to allow the deception to continue and discloses the truth. Essex is delighted and Elizabeth, in a jealous rage, has both Bessie and Jill imprisoned for bewitching Raleigh and Long Tom.

How do the lovers untangle the web? Do they all end in the Tower or do we see a happy ending? The denouement awaits!

What The Press Said

Making Merrie Music

The Society’s production of Edward German’s most popular comic opera was rewarding.

Normally a producer of plays, Patsy Mustow brought out the best acting ability from the cast who all gave convincing performances.

The costumes and lighting were well thought out and the enthusiasm of the cast made for a very merry performance.

Merrie England is a fictionalised account of an incident that occurred in Elizabethan times and displays the three major themes of courtly life: love, honour and duty.

Baritones George Brooks and Martin Rutter played the part of Shakespeare’s players very well, giving lively and amusing performances.

Joanne Ludlow, mezzo, as Jill All Alone and Rachelle Phillips, soprano, as Miss Bessie Throckmorton were well cast and the audience appreciated their singing and acting.

It was a pity that there are so few men in the cast as there was a distinct lull during male-only singing parts in the chorus.

The orchestra, directed by Janet Bubb was excellent.

Chris Jervis Evening Mail

Operatic Society excels in Merrie England Performance

The days of Elizabethan England when good Queen Bess ruled the country came alive with the production of “Merrie England” by the Bromsgrove Operatic Society.

The operetta by Basil Hood – which was written not during the days of Shakespeare but the early part of this century – was full of all the enchanting ingredients of courtly life such as love, honour and duty.

And the traditions of May Day and witch-hunting added to the authenticity.

But perhaps the most convincing part of the whole production was the performers themselves. Each one lived their part to the full and looked as though they were thoroughly enjoying every moment of it. Their attitude undoubtedly made the operetta the great success it was.

Everyone, from the principal performers and singers, right through to the chorus and the huddle of busibodies in the corner, all displayed a very professional approach. A great deal of research by the producer had gone into the play as well as a lot of time spent rehearsing.

The costumes worn by members of the chorus were skilfully made out of the colours of the Magpie while the stage setting was kept effectively simple.

The orchestra made up in the main of music teachers, played excellently under the directorship of their talented conductress.

There were a few songs which were slightly less tuneful that the others but on the whole they were light and enchanting, especially the ballards entitled “Pipes of Pan” and “Oh t’is folly to run away from love”.

There were some noteable singers such as Pat Loboda whose sweet voice suited the part she played as the May Queen well.

Rachel Phillips who played Sir Walter Raleigh’s sweetheart Miss Bessie Throckmorton displayed a fine voice as did many of the other principal singers.

The most memorable moment of the play came when Queen Elizabeth – played by Ruth Henley and who, like Queen Bess herself, has striking red hair – was carried in on dais followed by her court jester and ladies in waiting.

The effect on the audience could not have been much different if the real Eliabeth I had entered.

Ann Feloy – Bromsgrove Messenger

1982 – Die Fledermaus

Die Fledermaus

(The Bat)

Music by Johann Strauss.
New Libretto by Phil Park.

Cast And Credits

  • Stage Director:
  • Musical Director:
  • Rosalinda Eisenstein:
  • Gabriel Eisenstein:
  • Adele (the maid):
  • Doctor Falke (The ‘Bat’ of the story):
  • Alfred (an opera singer):
  • Frank (governor of the prison):
  • Prince Orlofsky (a blasé millionaire):
  • Doctor Blint (a lawyer):
  • Frosch (a bibulous police sergeant):
  • Ida (Adele’s sister):
  • Mitzi (a housemaid):
  • Ivan (Orlofsky’s major domo):

Synopsis

Baron Eisenstein has been sentenced to a week’s imprisonment for contempt of court. Before he goes to jail, he’s persuaded to go, in disguise, to a ball being given by Prince Orlofsky. Three years earlier, Falke, disguised as a bat for a fancy-dress ball, was made to walk home in broad daylight as a joke by Eisenstein and ever since he has been plotting his revenge. Rosalinda sees her husband depart, as she thinks, for prison, and admits her lover, Alfred. The prison governor arrives to collect Eisenstein and assumes Alfred to be him. To protect Rosalinda’s reputation, Alfred volunteers to be taken off to prison as Eisenstein.

At the ball given by Prince Orlofsky, Adele, wearing one of her mistress’s gowns, has gate-crashed the ball. Baron Eisenstein flirts outrageously with her, watched by his wife, whom Falke has disguised as a Hungarian Countess. The Baron then turns his attentions to the mysterious Countess, who manages to get a hold of his watch during their tete-a-tete. The ball ends in praise of champagne and all swearing eternal friendship. The clock strikes six in the morning and Gabriel and Frank go their separate ways to prison.

Eisenstein arrives at the prison to begin his prison sentence. He is amazed to find he is being impersonated by Alfred and furious when he discovers his wife has a lover. Rosalinda counters with the watch the ‘Countess’ obtained at the ball and his flirting with their maid Adele! Falke arrives to explain it was all a joke to get his revenge. Champagne is blamed for the confusion and champagne is drunk to celebrate reconciliation.

1981 – The Gondoliers

The Gondoliers

by W.S.Gilbert and Arthur Sullivan.

Monday, 2nd to Saturday, 7th November, 1981
South Side Hall, North Worcestershire College, Bromsgrove.

Cast And Credits

  • Stage Director: Keith Williams
  • Musical Director: Janet Bubb
  • Marco Palmieri: Tim Kingscote Davies
  • Guiseppe Palmieri: Martin Rutter
  • Gianetta: Pat Laboda
  • Tessa: Ruth Henley
  • The Duke of Plaza-Toro: George Brooks
  • The Duchess of Plaza-Toro: Sheila Skinner
  • Casilda: Joyce Cochrane
  • Luiz: Hugh Johnson
  • Don Alhambra Del Bolero: Jim Brook
  • Inez: Alyson Williams
  • Antonio: David J. Bubb
  • Francesco: David Pavely
  • Annibale: Ray Letts
  • Fiametta: Joanne Ludlow
  • Vittoria: Anne Brooks
  • Giulia: Suzanne Letts

Synopsis

The two Gondoliers, Marco and Guiseppe, who are much admired by all the Venetian flower-girls, choose as their brides Gianetta and Tessa. No sooner is the marriage ceremony completed than the Don Alhambra arrives to inform Marco and Guiseppe that one of them is no gondolier but the son of the late King of Barataria and the next in succession to the throne. There are two important circumstances one of which the Don tells the Gondoliers but the second he keeps to himself. First he tells them that although one is now the King, the Don cannot tell which it is. The former nurse who had the keeping of the infant prince has been sent for to make the identification but until this takes place both are to reign jointly. The second aspect that the Don does not tell the King, whichever one it is, is that he was married in babyhood to a Spanish Lady – Casilda – the only daughter of the Duke of Plaza – Toro.

The Don persuades the gondoliers that lades are at present ‘not admitted’ into Barataria and the first act closes with the gondoliers and their friends departing for Barataria.

In the meantime, the Duke has arrived in Venice in a very impoverished state with his Duchess, his daughter and one attendant, Luiz. Luiz is very much in love with Casilda but his suit is rejected when Casilda learns of her true identity – the Queen of Barataria.

Three months later, we find the Gondoliers has remodelled the Court of Barataria on Republican lines and all are now of equal rank. Court life palls and the Gondoliers long for the company of their wives. The reunion part is broken up by the Don who is not all all in agreement with the changes made to court.

Then comes the Duke, Duchess and Casilda for the coronation ceremony and the Don is compelled to the consternation of the Gondoliers, to admit that the King ‘whichever you are’ is already married.

The climax to the opera is reached when the nurse Inez arrives to make the identification of the real King.

Song List

 

Act 1:

  • List and Learn, Ye Dainty Roses (Contadine, Gondoliers, Antonio, Marco & Giuseppe)
  • From the Sunny Spanish Shore (Duke, Duchess, Casilda & Luiz)
  • In Enterprise of Martial Kind (Duke & Chorus)
  • O Rapture (Casilda & Luiz)
  • There Was a Time (Casilda & Luiz)
  • I Stole the Prince (Don Alhambra, Duke, Duchess, Casilda & Luiz)
  • But, Bless my Heart (Casilda & Don Alhambra)
  • Try We Long Life (Duke, Duchess, Casilda, Luiz & Grand Inquisitor)
  • Bridegroom and Bride (Chorus)
  • When a Merry Maiden Marries (Tessa & Chorus)
  • Kind Sir, You Cannot Have the Heart (Gianetta)
  • Then One of Us Will Be Queen (Marco, Giuseppe, Gianetta & Tessa)

Act 2:

  • Of Happiness The Very Pith (Marco, Giuseppe & Chorus)
  • Rising Early in the Morning (Giuseppe & Chorus)
  • Take a Pair of Sparkling Eyes (Marco)
  • Here We Are at the Risk of our Lives (Fiametta, Vittoria, Gianetta & Chorus)
  • Dance a Cachucha (Chorus)
  • There Lived a King (Don Alhambra, Marco & Giuseppe)
  • In a Contemplative Fashion (Marco, Giuseppe, Gianetta & Tessa)
  • With Ducal Pomp (Duke, Duchess & Chorus)
  • On Day When When I Was Wedded (Duchess)
  • To Help Happy Commoners (Duke)
  • I am a Courtier (Duke, Duchess, Marco & Giuseppe)
  • Here is a Case Unprecedented (Marco, Giuseppe, Casilda, Tessa & Company)