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 Martins
Bank Operatic Society in The Gondoliers by Gilbert and Sullivan
Staged:
17 to 21 March 1964 at the Crane Theatre Liverpool
 Under the musical direction of Geoffrey Kelly, Martins Bank Operatic
Society presents another tour-de-force in the form of their 1964 production
of “The Gondoliers”. Previously staged
by Martins Bank Society of the Arts both in 1948 and 1955, revisiting this
much loved favourite hits the right chord with everyone, from audience to the
critics themselves, who are especially enthralled by the spectacle and
professionalism of the whole thing. As
Martins Bank Magazine points out, at that time it was rare for a newspaper to
devote so much column space to an amateur production. Geoff Kelly is at the height of his
creativity here, inspired by the d’Oyly Carte productions of Gilbert and
Sullivan, his meticulous attention to detail shows clearly, and it is no
wonder that “The Gondoliers” wins Martins Bank Operatic Society the Leonard
Osborn Trophy for the FOURTH successive year. We start with the local newspaper coverage of this
year’s production, followed the illustrated review of “The Gondoliers” from
Martins Bank Magazine. Finally, more news coverage, this time of Martins Bank
Operatic Society’s FOURTH Osborn Trophy win…
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Liverpool Daily
Post March 1964 – “The Bankers’ Novel Note
 Martins Bank Operatic
Society are this week presenting that favourite Gilbert and Sullivan opera
“The Gondoliers” at Crane Theatre, Liverpool. With May Collins as a
director punctiliously faithful to the honoured traditions and young
Geoffrey Kelly a conductor of some restraint and fastidiousness which
valuably assist the vocalists, it is a capable production with a cast of
sixty and orchestra of sixteen. It has not quite the romping quality of “ a
right-down regular royal” version. But “ The Gondoliers ” is one of the best
singing operas in the canon and the scenic settings, especially in Old
Venice, here strike a novel note. Bill Bethell is a tower of strength.
capturing the urbanity and portly mien of the Grand Inquisitor without any
shadow of doubt. Barrie Stevenson, as the Duke, cultivates a sprightly,
whimsical presence and presides over the dancing lesson with airy elegance.
That number is charmingly done as a whole. Phyllis M. Ritchie makes a
convincingly courtly Duchess, and the best of an unpromising marriage. Their
pretty daughter Casilda is most melodiously enacted by Val Tilley, who has
come on vocally by leaps and bounds. Her anxious romance with Luiz, her
father's attendant (William Lawler) furnishes some eloquent passages, such
as “There was a time.” Bill Morris and Jack Holroyd portray the gondoliers
Giuseppe and Marco with the necessary amusing equivocation. They become
joint-monarchs of Barataria, since
nobody knows which is the legitimate heir. As their contadine brides (or is
it only one bride?) we have Jill Kelly and Lynn Griffith. In the end there
are three pairs of sparkling eyes, while the cachucha, fandango and bolero
retain all their customary magic and appeal.
 Liverpool Echo
26 March 1964 – “With the Amateurs”
Gilbert and
Sullivan’s comic opera “The Gondoliers” was the choice of Martins Bank
Operatic Society for the presentation at Crane Theatre, produced by May
Collins. This opera was well staged in a striking setting of the Piazetta.
Venice, created by Crane Theatre and the musical direction was under the
capable and con vivace baton of Geoffrey Kelly. Marco (Jack Holroyd) and
Giuseppe (Bill Morris) played well together and their voices had a suitable
blending. with Marco’s “Pair of sparkling eyes” succeeding. Casilda (Val
Tilley) was inclined to sacrifice diction for musical endeavour but she was
at her best in the recitative and duet with Luiz (William Lawler). Barrie
Stevenson (Dyke of Plaza-Toro) had a line sense of comedy and Bill Bethell
was a Grand Inquisitor in the true Gilbertian tradition. Gianetta (Lynn
Griffiths) and Tessa (Jill Kelly) were delightful but the latter required
much more projection. This Society excelled in its teamwork and the
strength of the principals was in their conceited works rather than in
their solos.
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 In a contemplative fashion and a tranquil frame
of mind' one looks back on the Operatic Society's production at Crane
Theatre, Liverpool, over five nights and one matinee from March 17th to
21st. The critics of both the
Liverpool Daily Post and the Liverpool Echo—experienced men and quick to praise
or criticise—gave this production high commendation and it is rare indeed
for a newspaper to spread a photograph across the head of five
columns. What then is left for our
roving reporter to add? Have we 'one
little grievance we'd like to ventilate?' Sorry.
No. On the
back of the brightly produced programme are four words scribbled during the
show—Colourful, Verve,
Delightful, Together, and these sum up the whole entertainment. We need say
no more about the colour for there is the photograph but Bill Morris and
Jack Holroyd in 'sportin' pink' were a startling opening to Act 2.
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The Full Company
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Verve came at the outset with Ian Wilson as
Antonio sweeping up the audience and landing them willy-nilly amongst the
gay gondoliers, where they stayed, far more at home than watching remotely
from the stalls and circle. They
really had no option (and would probably not have exercised it anyway) for
from the first chorus there was applause and then more applause as the
opera unwound. There was Barrie
Stevenson's likeably silly Duke of Plaza-Toro who endeared himself to old
and young, traditionalist or otherwise, and apparently surprised himself by
momentarily doing the twist; William Lawler, subdued yet convincing, as
Attendant and then as King; Bill Bethell commanding, polished, but
engaging, as the Grand Inquisitor.
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Valerie Tilley Jack Holroyd Barrie Stevenson
Phyllis Ritchie Bill Morris
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Jack Holroyd and Bill Morris as Marco and
Giuseppe and their wives—Lynn
Griffiths as Gianetta and Jill Kelly as Tessa made as happy
a vocal and musical foursome as anyone could have wished-spontaneous humour
wed to frolicsome charm. Phyllis Ritchie as the Duchess, right
royally offsetting her buffooning husband, and Valerie Tilley as her
daughter Casilda, aloof but with a lovely voice, made the most of their
parts while the other principals Evan Jones, Frank Cohen and Peter Swinton
with Nancy Klass, Joan Venn and Pamela Rooke, maintained the lively tone
and the high standard throughout. Inez, played by Evelyn Winship, added her
own quietly convincing touch at the end.
Of the chorus of gondoliers, men-at arms, heralds and pages (and one
of these, Robert Jones, is a born scene-stealer!) one might ask how it was
possible to keep the audience with them throughout. Perhaps it is that 'when ev-er-ee-one
i-is some bod-ee then no-one's any-body'. These men who transformed
themselves from happy gondoliers into gentlemen of the court, and the
ladies who maintained sparkling eyes and vivacity throughout the two and a
half hours of each performance must surely have gone home 'with the
gratifying pleasure that our duty has been done’.
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Lynn Griffiths Bill Bethell and Jill Kelly
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The success of the show was
not only due to the players but to the skilled production by May Collins
and to the musical direction of Geoff Kelly who held players and musicians
together so well but, as always, so unobtrusively. For those who went to the Crane Theatre
it was indeed a 'gratifying pleasure' and-if one may just quote G & S
once more-'of that there is no shadow of doubt... no possible doubt
whatever.'
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Liverpool Daily
Post – MBOS Wins Osborn Trophy April 1964
 Confirmation that
Merseyside has more to offer musically than battalions of beat, was
produced at the Y.M.C.A., Mount Pleasant, Liverpool, on Saturday. It is
extremely unlikely, however, that any of the 250 or more operatic
enthusiasts who gathered there saw their visit in this particular light.
All they wanted to do was derive full benefit from what amounted to a
sizeable Gilbert and Sullivan jamboree. This was a joint meeting of the
Liverpool, Manchester, West Riding and Birmingham branches of Britain s forty
- year – old Gilbert and Sullivan Society. The meeting began with an
afternoon session of quizzes and panel games broadly based on the Victorian
works of Sir William Schwenck Gilbert and Sir Arthur Seymour Sullivan. This
over, a capacity audience settled at the Large Hall to enjoy what has become
one of the highlights of Merseyside’s amateur operatic year—the Liverpool
branch’s annual Leonard Osborn Trophy Contest. The
contest started six years ago, after Leonard Osborn, then principal tenor
with the famous D’Oyly Carte Company and president of the Liverpool branch,
had presented a trophy for a Gilbert and Sullivan competition between
Merseyside’s amateur operatic societies. There are six amateur operatic
societies on Merseyside who specialise in Gilbert and Sullivan and Mr
Osborn’s trophy contest quickly caught their imagination. Saturday’s entry
— ten teams from three societies — was the biggest yet. Highest points and
the trophy went to one of the three Martins Bank Operatic Society’s teams.
The winning excerpt was taken from Act Two of “The Gondoliers” and extended
the musical bank workers’ run of success in the contest to four successive
years. Martins did well to hold the trophy because their great rivals, the
Bentley Society had entered six teams to try and regain the silver cup
which they carried off for the first two years of the contest. The odd team
out in this Martins-Bentley dominated contest came from the Rock Ferry
Amateur Operatic Society. Prizes for the best individual performances
outside the winning team went to Miss Elsie Kelly and Mr Brian Smith of the
Bentley Society.
Liverpool Echo
– MBOS Wins Osborn Trophy April 1964
 Fourth Win In G.
And S. Contest Martins Bank Amateur Operatic Society won the Leonard Osborn
Trophy Contest, which is held by the Liverpool branch of the Gilbert &
Sullivan Society, for the fourth successive year on Saturday night. The
society’s winning run was extended by one of three teams they entered for
the trophy contest. But the individual prizes for the best performances
outside the winning team went to Miss Elsie Kelly and Mr. Brian Smith. two
members of the six teams entered by the Bentley Amateur Operatic Society.
A team from the
Rock Ferry Amateur Operatic Society completed the biggest entry in the
six-year history of the contest. And
the Large Hall at the Y.M.C.A., Mount Pleasant, Liverpool, was packed to
see it. Each team had to present an excerpt of between seven and 15 minutes
from one of Gilbert & Sullivan’s operas without the aid of costume or
props. The winning excerpt was from Act 2 of “The Gondoliers.” The concert
was preceded on Saturday afternoon by a joint meeting between the
Liverpool. Manchester, West Riding and Birmingham branches of the
40-years-old Gilbert & Sullivan Society.
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