Martins Bank Operatic Society - 1965 Princess Ida

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MARTINS BANK OPERATIC SOCIETY - LIVERPOOL

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...

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.

Lady Blanche	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.				Princess Ida

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.		The Two Kings		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.

The Warrior Brother			Florian Hilarion and Cyril
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…
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.