Congratulations to all our cast and crew for executing a fabulous show and Diamond Jubilee party! The show was a magnificent and energetic collection of scenes, followed by a fabulous celebration of all things GLOC for our 75th party!
One of the highlights of the evening was having some of our longest standing members and supporters joining us at the event. The pinnacle of the evening was our guest speaker and longstanding member and supporter, Pam Everton’s wonderful speech! Read on below for a copy of Pam’s wonderful speech, as well as some interesting thoughts from another angel and longstanding member, Chris Crowcroft! Additionally, we would like to say a huge thank you to another special guest, Rebecca Wilmshurst, the daughter of our founder John Wilmshurst and longstanding member and supporter Jean Wilmshurst, for the very generous donation to digitalise our archives!
Brilliant speech given at our Diamond Jubilee by Pam Everton
Thank you so much for inviting me to this wonderful celebration. My late husband Samuel Everton was in the audience for the Companies first Show. He was so inspired and impressed with the performance that he joined for the second Show and continued to perform in every Show until 2001 when he “retired “ at the age of 80! He was passionate about the Savoy Operas and even more passionate about The Grosvenor Light Opera Company. I joined the company in 1964. My first show was Princess Ida in November 1964 – 60 years ago. I was very nervous – I had never been on the stage before – although I had been in the chorus of my school choir. But I needn’t have worried. I was the shortest soprano and Sam was the shortest tenor, we were partners and Sam diligently ensured that I was in the right place at the right time! We fell in love and became one of several Grosvenor Couples! In 1964 the D’Oyly Company owned the copyright of the Savoy operas and we had to hire the sets, costumes, musical score etc. from them. There were strict guidelines as to stage production and dance routines which had to be adhered to. The copyright ran out in the 1960s and made way for less traditional productions! In 1966 the company performed The Grand Duke. It was the first time it had been performed in London since its first disastrous run. G&S devotees came from all over the country to see it. The week before the show a bug attacked the company and nearly everyone lost their voice at some point of the show week. We had to have people with scores singing from the orchestra pit while the cast acted and mimed on the stage!!! I remember a production of Patience in 1994. The Theatre we had booked failed an electrical inspection on the Wednesday before the week of the show. By some miracle the Commonwealth Institute Theatre in Kensington had had a cancellation and we transferred there. Remember there was no internet and very limited use of mobile phones and no social media. It was a nightmare but a lovely very successful show in Black and white. One of favourite memories is of performing the Mikado in a temporary Theatre that had been erected in the space vacated by the fruit and vegetable market in Spitalfields. It was built on scaffolding and had the largest stage I ever remember playing on. There was no orchestra pit and no back stage facilities so we had the Titipu Band on one side and the stage and the Titipu Tearooms on the other. When you were not performing we would sit discreetly in the tearoom. It was great to see all the action and feel part of it. I remember my hairpiece falling off in the Gondoliers and Ian Lawson kicking it across the stage saying oh these rats in Venice! We had some wonderful opportunities. We provided the chorus for groups such as Gilbert & Sullivan for all in both the Royal Festival Hall and the Royal Albert Hall. We also were in the chorus for several operas in the Open Air Theatre in Holland Park. And we even tried Television!! It was in a TV series called Kavannah QC and in one episode one of the lawyers joins a G&S Society to be the Judge in Trial by Jury. We spent 3 days on location, one in the Middle Temple, which was beautiful and two days in Stratford Magistrate’s Court!! All for 3 minutes on screen. But it was an amazing experience and we were paid £4000 which was life-saving for the Company at the time! Sam did play a few minor principal roles. Antonio in the Gondoliers and Samuel in Pirates. But we were both true chorus members through and through. We enjoyed being in the chorus – we made so many friends and we had such fun. When I was watching your last show Yeoman of the Guard I could see that it is exactly that for you. It is seeing your enjoyment and passion that thrills me and reminds me of our experiences. I have been saying for two or three years how good the chorus is and I was so pleased this was recognised in Buxton this year. So, I want to say thank you to you all for taking the Company forward so completely and successfully. I also want to thank you for Angel scheme that keeps people like me in touch with you. We appreciate it. Sam would have been so delighted that we are together to celebrate tonight and I know he will be joining in the chorus of Hail Poetry. So from him and me well done and here’s to the next 25 years!!!
Huge thank you to Pam Everton for a fabulous speech and hilarious stories connecting us with our past! It was the highlight of celebrations!
Interesting anecdote from Chris Crowcroft
I am in the North Lakes/Penrith, too far away to make the Diamond Jubilee, sadly. There is G&S up here but it is dying, along with its practitioners. GLOC has a special London situation, long may that apply! I had a Savoyard moment not so long ago, helping out with my old military school. There in the petitions for entry 1814 was one for Thomas Sulivan (sic), living in poverty with mother and two siblings, father away at the wars and unseen for 5 years. The school rescued him, gave him a clean uniform, three meals a day and the share of a clean bed as well as his own towel. It also educated him as a military musician. He was of course the father of Sir Arthur and had rather more to do with Arthur’s musical education than history otherwise tells. Arthur was first off a bandroom brat. ‘But tush, I am puling.’
The school is the Duke of York’s Royal Military School, Dover, founded 1803 as the Royal Military Asylum, Chelsea, priority orphan children of ordinary soldiers. Where I first trod the boards in G&S 1968-70. My father, like Arthur’s, was an army bandmaster: ‘there’s a good hymn tune in every G&S’ he used to say, and a schoolfriend’s likewise bandmaster dad lodged his family in the Sullivan quarters at Sandhurst, where Arthur was first exposed to the bandroom and all its wind instruments (he said he could play something on all of them by age 8). I like to imagine Arthur, when conducting Pirates being amused by the orphan theme and orphan/often dialogue. Thomas Jnr, his Irish mum and two sibs were lodging in an alleyway in Holborn, prime Dickens/Fagin territory, she earning coppers a week ‘taking in washing when she is well enough.’ His Irish dad Thomas Snr went for a soldier soon after his marriage and fought in the Peninsular and USA and was en route to Waterloo (too late). Afterwards guarded Napoleon on St Helena. Never rose above private, went AWOL twice, ended up a Chelsea Pensioner ‘worn out.’ Veritably rags to riches in two generations Thomas-Thomas-Arthur. And Catholic to Anglican (I know why). Not that you need all the detail! But one passes things on…… Ever, Chris
A note from Chris Roberts!
I was a member from 1972 to 2002 and directed shows from 1997 to 2001. This included the 50th anniversary celebrations when we staged items from every G and S show (including Thespis) in one evening! I also remember 50 years ago when we did no show at all due to problems with the theatres and we ended up rehearsing Iolanthe for eighteen months… It’s still my favourite show, however!
Et corde et voce! All good wishes, Chris (Roberts)
A thank you to Rebecca Wilmshurst!
We would also like to say a huge thank you to our wonderful support Rebecca Wilmshurst, the daughter of our founder John Wilmshurst and long-time member and supporter Jean Wilmshurst. Even Rebecca’s aunties were in the company in 1949! The Wilmshurst support over the years has been hugely meaningful, it’s especially special to have an immediate connection to our past and the people that founded this wonderful community. In addition, Rebecca has kindly made a considerable donation towards the cost of digitalising our archives! We are hugely thankful to Rebecca and all the Wilmshursts, not only for creating this wonderful company in 1949, supporting it throughout the years, but also helping us preserve it’s history for all to enjoy today and for many more decades to come!
Share your story!
Do you have a memory, story or photo album you would be willing to share with us?
We would love to see it!! Please get in touch by emailing [email protected]
Come and see our spectacular winter show! Deceit and Disguise will be a spectacular performance of comic musical scenes connected through the themes of hiding and concealing. We will be exploring confused identity, heartbreak, deception and hilarity, which we so often see as the opening topic in G&S and beyond. This smart and snappy show will be a treat for the senses, consisting of of classic G&S numbers from Pirates, Pinafore and Iolanthe to Musical theatre – ABBA, Guys and Dolls, Cabaret, not to mention a couple of pieces by of Mozzart to Kander and Ebb!
Diamond Jubilee Party Combine your show experience with a ticket to our Diamond Jubilee Masquerade Party in honour of GLOC’s 75th anniversary! There will be a hot sumptuous buffet, drinks, games, singing, sweet treats and more! Dressing up is optional (but always encouraged!)
Everyone is welcome, so bring your friends, old members and celebrate all things Gilbert and Sullivan for an evening of entertainment, delicious dinner, singing and more!
Thank you to everyone that attended our AGM on Wednesday. We had a smooth and successful meeting which highlighted our activities of the past year and confirmed a solid financial standing, following a successful summer show of The Yeomen of the Guard, a large cast and continued support from our Angels!
A big thank you goes to our outgoing committee, especially to our former Chair, Mark Pim.
We are thrilled to announce a fantastic team for the incoming committee:
Chair: Jacqueline Cable
Treasurer: James Scowen
Secretaries: Caroline Taunt and Pei Tan
Production: Jordan Bryan and Jonathan Newman
Publicity: Lizzie Martin
Angels: Alicia Fothergill
Our minutes from the AGM, along with our annual financial statements will be emailed to members within the week.
Thank you to everyone that made this year a success and here’s to another fantastic year at GLOC!
Thanks to everyone that attended our Open Rehearsal on Wednesday, we were delighted to see so many of you, we hope you all had as much fun as we did! We are super excited for Deceit and Disguise and look forward to our first rehearsal and auditions this week!
Wednesday 18th September
First rehearsal: 18:45 – 20:15
Auditions: 20:15 – 21:45
St. Gabriel’s Church Hall, Pimlico
Auditions:
Chorus:If you don’t wish to have a solo but would still like to take part in the Winter show, please come along from 18:45, but you will not need to audition and we’ll head to the Gallery pub for a social once the auditions start.
For those that would like a solo, please come prepared to audition this Wednesday. You may sign up on the night on a ‘first come, first served’ basis, but please remember to bring a copy of your music. Auditions will consist of a song of your own choice, preferably in English, something that best shows off your abilities.
If you have any questions, or would prefer to send a video of your audition, please email the team at [email protected].
We can’t wait to see you this week for more singing, acting and utter GLOC joy!
Deceit and Disguise will be a performance of musical scenes connected through themes hiding and concealing. We will be exploring confused identity, heartbreak, deception and hilarity, which we so often see as the opening topic in G&S and beyond. The programme allows everyone to have a moment to shine, combined with a selection of cohesive chorus numbers, this smart and snappy show will be a treat for our cast and audience combined! Numbers set to include composers from Mozart to Kander and Ebb, and of course, Gilbert and Sullivan… watch out for some Pirates and Pinafore classics and more!
Music Director: Christopher Jacklin
Artistic Director: Robyn Allen
Assistant Director: Jesse McCabe
Rehearsals will run from 11th September – 26th November 18:45 – 21:45
Performance will be Saturday 30th November
Open Rehearsal
Join us this Wednesday11th September at 18:45 – 20:30 for our Open rehearsal, where you’ll get the chance hear the directors’ vision, learn more about GLOC and meet the cast!
We’re also incredibly proud to have received four other nominations in the mix, namely Alex Kirstukas for Best Actor in a Male Role Lead, Emma Rettie for Best Actor in a Female Role, Daniel Morris for Best Male Voice and Rachel Gianesse Middle for Best Director!
Well done everyone for creating such a memorable show to mark GLOC’s 75th year!
GLOC are excited to begin work on their next production, The Yeomen of the Guard. Our welcome meeting is on at 6:45pm on Wednesday 31st January at St Gabriel’s Halls, Churchill Gardens, London SW1V 3AA (N.B. This is not St Gabriel’s Church itself but rather the halls on Churchill Gardens).
We’d love for you to join us, whether you’ve been in a GLOC show before or have never even heard of The Yeomen of the Guard! Everyone is welcome, and we will give a full introduction to the company, the show, and our production team at the welcome meeting.
If you can’t make the welcome meeting, or you missed it, then don’t worry – you are welcome to join us at a regular Wednesday evening rehearsal for the first few weeks into the show. Please email us at [email protected] if you’d like to come along!
Below are all the details you need to know about the show, important dates and the company. We do not audition to be in the chorus but auditions for principal parts will be held on the 7th and 10th February. See below for details on how to book, or go straight to the form here: https://forms.gle/5ecm1dyPmHCuqTEq5
Opportunities to get involved: audition for a principal role, join the chorus (no audition required), and/or volunteer to help backstage or on the production team (props, costume, lighting, stage managing etc).
St Gabriel’s Halls, Churchill Gardens Rd, Pimlico, SW1V 3AA
Auditions for principal roles
Wednesday 7 February 18:45 – 21:45 Saturday 10 February 2024 10:00 – 14:00+
St Gabriel’s Halls, Churchill Gardens Rd, Pimlico, SW1V 3AA. Auditions by appointment Fill in the Google Form here: https://forms.gle/5ecm1dyPmHCuqTEq5
Rehearsals
Every Wednesday, 6.45 – 9.45pm, beginning 14 February 2024.
St Gabriel’s Halls, Churchill Gardens Rd, Pimlico, SW1V 3AA Not everyone will be called for every rehearsal
Sunday rehearsals
1-2 as we get closer to show week.
Dates and location TBC
Show get-in
Sunday 16 June 2024 from 10am
Details to be confirmed but everyone should be prepared to attend. Bridewell Theatre.
Evening performance on the main stage at The International Gilbert and Sullivan Festival, Buxton. See below for more details. Compulsory for principals. Optional for chorus.
Membership and costs
You are very welcome to join rehearsals for a couple of weeks to decide whether or not you would like to stay and participate in the show; however to be in the show you will need to become a member of GLOC.
This entails being able to attend all our performances, as well as the dress and tech rehearsals. (See dates above.)
Our shows are put on to a very high standard, but with this there is a cost which isn’t covered by ticket sales and is made up by donations and membership fees.
Membership fees for this show: £180. Half rates available for those who are unemployed or in full time education. If you think you would struggle to pay, please reach out to our treasurer James
At least the first half of the fees (£90) must be paid by 30 March (or, for principals, before confirmation of casting). The full amount is due by 27 April to ensure that we have funds to put on the show.
Membership fees can be paid by bank transfer:
Account name: Grosvenor Light Opera Company Account number: 80463221 Sort code: 20-52-74
Vocal Scores
We wil be using the standard Chappell version of the score, which is available:
The production team and the GLOC committee include the following
Show director
Rachel Middle
Musical director
Christopher Jacklin
Chair
Mark Pim
Production
Gemma Warren
Treasurer
James Scowen
Secretaries
Jacqueline Cable & Emma Rettie Contact them on [email protected] for queries about rehearsal schedules and auditions
Publicity
Fran Lambert Contact her on [email protected] (or via FB, X or Instagram) for any public-facing enquiries (or just to share your GLOC photos!)
Angels secretary
Lissy Fothergill
Ordinary members
Jonathan Broad
Social events & fundraising
Jacqueline Cable, Emma Rettie, Fran Lambert
About Rachel Middle and The Yeomen of the Guard
An introduction from our director Rachel Middle.
For those who don’t know me – hi! My name is Rachel Middle. I have been a professional Director and Actor for almost 15 years now, and much of my work has involved the comic operas of Gilbert and Sullivan; mostly with my own company ‘Forbear! Theatre’ but also with the National Gilbert and Sullivan Opera company in 2021. From the age of sixteen I have been absolutely enchanted by G&S; there something about the ‘matter-of-fact’ humour set in absurd, topsy-turvy locations and situations that hits all the right spots for me, and Sullivan’s setting of Gilbert’s lyrics only adds to the drama and the comedy. It has been my mission for quite some time now to show the world just how relevant these stories are; not so much for the specific situations the characters are in but for showing us how people can be flawed, but still good at heart; how the ostensibly strongest of us can prove themselves to be the most vulnerable of us all; and how their failure to communicate honestly and openly can end in heartbreak. These operas are not as frivolous as they seem; while using satire to poke fun at the upper classes they give us a real insight into why people do the things they do, while providing the audience with a much-needed injection of sheer joy.
At first glance, The Yeomen of the Guard is not quite like the other Gilbert and Sullivan operas; it was created largely to give Sullivan the space he needed to write a work he considered truly emotional and dramatic, more along the lines of ‘Grand Opera’ than the comic operas he was used to writing with Gilbert, and the piece is full of deep, emotional moments. ‘Yeomen’ is set in the Tower of London in the 1520s, and features Colonel Fairfax, a man who is about to be wrongfully executed for Sorcery. Fairfax accepts his fate but wishes to marry before he dies so his money doesn’t go to one of his enemies. The woman randomly chosen is Elsie, a strolling musician who is herself in a complicated situation with her performing colleague, Jack Point, who clearly loves her but has difficulty communicating this to her. Fairfax’s friends, meanwhile, have plotted his escape, and thus Fairfax finds himself alive and newly married to a woman he doesn’t know, and Elsie and Jack are forced to deal with the aftermath.
Though the story seems pretty miserable on first glance, one of Gilbert’s great strengths was finding the humour in tragedy, and “Yeomen” is no exception; it is full of wittiness, silliness, and likeable, but complex characters, and is a lot less tragic than many believe! In our production we will highlight not only Gilbert’s wonderful words and Sullivan’s glorious music, (arguably the best in the canon,) but we will have a lot of fun creating unique characters; Principals and chorus-members alike; and experience being part of one of the most beautifully romantic pieces in the canon.
The International G&S Festival in Buxton
GLOC is delighted to be returning to the Festival in Buxton in the summer, and in particular to be returning to the main stage, at the Buxton Opera House, which is a reflection of the reputation for high quality shows we have built up at the festival. This additional performance is compulsory for principal roles. It is optional for the chorus, although we hope you enjoy your experience of performing with GLOC enough to want to do the show again.
Please note there is a small additional show fee for those going to Buxton to cover the costs of taking the show to the Festival. The Committee endeavours to keep this as low as possible; for reference, in previous years the additional fee was up to around £50 and (when the main show did well and expenses for the festival were small) has even been £0. Please also note that GLOC does not organise accommodation or travel and you are advised to book early. You will need to be in Buxton at the latest the evening of Sunday 28th August. We are likely to be asked to perform the after-show evening cabaret at the festival club.
Auditions
We do not audition for chorus members. All are welcome — just come along!
Auditions for principal parts will take place on:
Wednesday 7 February (6:50pm – 10pm at St Gabriel’s Halls Pimlico)
Saturday 10 February (10am – 2pm at St Gabriel’s Halls Pimlico)
Auditions will last around ten minutes and consist of an English-language song of the candidate’s own choice and an extract of spoken libretto, followed by a brief chat. Descriptions of each character, together with the relevant extract of dialogue for audition and suggested audition pieces, are detailed below.
You are not required to have learnt the audition material by heart and are welcome to sing/read from the music/script. However, it is in your interests to ensure you are familiar enough with the material to be able to perform freely and respond to direction.
Although audition songs for each role have been suggested below, you will be best served by performing something you know well. That said, if you have a particular role in mind, think carefully about the vocal and dramatic qualities you wish to portray.
If you wish to be considered for more than one part please indicate this on the audition form; however you will only be able to do one audition slot.
There is a £12 audition fee; there will be a card reader at the auditions to collect this fee. If you do join the production, this audition fee is then deducted from your membership fee (so for those who continue in a chorus or principal role, there is no additional cost for auditioning).
Please arrive in advance of your audition time, as you will be asked to fill in an availability form prior to your audition. Availability will be taken into account in decisions to allocate roles. If your availability decreases during the rehearsal period, or your actual attendance is less than expected, we may decide to reallocate the role for the benefit of the other cast members and chorus.
Please note that, this year, confirmation and announcement of principal roles will be subject to payment of the first instalment of subs.
Characters and audition sides
Please note that the audition songs included below are for guidance only, picked primarily to show the range of the roles, or to tackle the ‘tricky’ bits. However, these are not compulsory and candidates should feel free to choose any appropriate piece with lyrics in English that shows them off to the best of their ability.
Please prepare the specified speeches for your character, however you may be asked to read only ONE of them, or a portion. You are NOT expected to be off-book. The relevant extracts of dialogue are available from the full libretto here: https://gsarchive.net/yeomen/yg_lib.pdf
An enigmatic, strolling player who finds herself married to a man she has never seen. Don’t fall into the trap of believing Elsie is some solemn, tragic character. People who have gone through a huge shock as Elsie has during the events of Act I would be anxious, heart-broken (presuming she has some feelings for Jack Point, which I think she does. Controversially, it’s possible to have feelings for two people at once!) and extremely vulnerable. Elsie is a performer. She is confident, extroverted and charming, usually wearing a smile. She and Jack are in the same industry- she also has to put a brave face on things!
Audition song: Act 1, No 10 – Recit and Aria: ‘Tis done! I am a bride!
Dialogue: Scene with Fairfax following No. 17 (Strange Adventure)
As the daughter of the leader of the Yeomen but an outspoken critic of the workings of the tower, Phoebe is possibly the most intelligent but least mature character in the canon. Her imagination runs absolutely wild with thoughts of grand romance with the hero Fairfax. However, though she dreams of a courageous soldier taking her into his arms all she has is her nerdy childhood friend Wilfred. She is actually extremely fond of Wilfred, but is unable to allow herself to fall in love with him because it would dramatically lower her social standing. Phoebe is only one of several ‘it girls’ in the Tower and she would never live it down if she married Wilfred. Though Phoebe seems shallow and frivolous she is a deeply considerate, brave, clever person who does not hesitate at the chance to save Fairfax.
Audition song: Act I, No. 1 – Song: When a maiden loves
Dialogue: Scene following no. 20 up until “but even brutes must marry I suppose”
*This role is written for a mezzo, but can be performed by a soprano if you transpose her two songs.
Kate – Soprano (F#4 – G5)
Kate is a relatively small part of this story but she nonetheless makes her mark in the scene preceding Strange Adventure and the song itself. She is charming, empathetic, and LOVES gossip. She is always with her aunt, Dame Carruthers, and will play a silent role in many scenes she has no dialogue or singing in, but that doesn’t mean she doesn’t have opinions! Since she has relatively little spoken dialogue, I’ve included Elsie’s scene as an audition piece.
Dialogue: Elsie’s Scene with Fairfax following Strange Adventure
Dame Carruthers – Contralto (G3 – Eb5)
The ostensibly quite matronly but actually very repressed and romantic administrative backbone of the Tower of London. She is in charge of everything, and everyone is quite scared of her, but she has a softer side. Remember all those really crappy magazines we used to read 20 years ago? The ones full of true life stories like “I married a ferris wheel”? Dame Carruthers is properly in love with the Tower of London itself, and I want anyone singing her aria in an audition to have a true, earnest, romantic connection with the Tower. It’s a good thing she’s never left alone on stage with it. She also LOVES gossip, and revels in the idea that there is some conspiracy going on in the tower, and tends to pop up unnoticed. I get the sense that she glides rather than walks, and possibly appears at random times in random places, making people jump. Elegance. POWER. But also kind of silly around Meryll. Like when a swan falls over.
Audition song: Act 1, No. 3 – Song: When our gallant Norman foes (either verse).
Dialogue: Scene Following no. 2
Colonel Fairfax – Tenor (Eb3 – Ab4)
The handsome war hero who is wrongfully accused of sorcery, and who has bravely accepted his fate to be executed at the Tower. He gets wrapped up in a complicated situation with Elsie who he attempts to ‘trick’ into being unfaithful to him. I get it- Fairfax seems like a really bad guy. However, in the interests of creating nuanced, three-dimensional characters, lets try to imagine that Fairfax, a military hero who’s heretofore been brave in the face of death, is not so good at talking to the ladies- it’s possible that in his attempts to impress Elsie he accidentally offends her, or perhaps he simply has a terrible sense of humour. He’s also been through quite a trauma; I feel like at the end of the Act 1 finale he and Elsie have this shared moment of utter distress- she’s just realised she’s married to a criminal who’s still alive, and he’s in the midst of a crowd of knife-wielding maniacs who’ve just heard there’s a reward on his head, and any of them could recognise him at any moment! Yes, Fairfax isn’t afraid of dying exactly, but wouldn’t anyone be afraid of dying in that manner? Consider how that shared experience may have bonded them. In short, he’s a war hero, but also awkward AF.
Audition song: Act 1, No. 5 – Song: Is life a boon?
Dialogue: Scene following no. 4 AND Scene with Elsie following no. 17
Jack Point – Comic Baritone (A3 – F4)
A strolling player who is an expert at finding comedy in tragedy, much like Gilbert himself! His abilities are put to the test, however, when he loses the love of his life through his own choices. The danger with this role is that the actor plays ‘tragic’ from the beginning. Even in the 2nd half, Jack never loses hope. Consider that many people you see every day will be going through terrible heartbreaks and other personal difficulties. Think how they may try and mask this from those they are trying to impress. Don’t show me defeated- show me hope, anxiety, restlessness; perhaps a little mania. Think how desperately he’ll be trying to shut out the voices in his head and convince himself and others that he’s FINE. HE’S FINE, HONESTLY!!!!
Audition songs: Act2, No. 2 – Song: Oh a private buffoon – first and last verses only
and Act 2 No. 10 – Finale: “Oh thoughtless crew! / It is sung to the moon”
Dialogue: Scene following no. 13 up until “‘til I ache for it.”
Sergeant Meryll- Bass-baritone (G2 – Eb4)
Meryll is a genuine, certified war hero. He’s also the bestest, sweetest father imaginable. He loves his children more than anything, fond even of Phoebe’s ability to ‘wheedle’ men. Fairfax is like a (presumably much younger) brother to him; remember bonds formed in the army will hit differently; they’ve been through multiple shared traumas together. There is real love and affection between them, and the thought of Fairfax dying is utterly devastating to him. Meryll’s character is almost subordinate to his ability to deliver exposition. This role requires an actor who can deliver dialogue EXTREMELY well. He has a lot of it, and it is dense. I am looking for somebody very confident with delivering text clearly for this role. Please note that ‘A Laughing Boy’ is almost certainly cut from this production.
Audition song: Act 1, No. 2 – Double Chorus, bars 61-103 (Figure C): 2nd Yeoman solo “This, the autumn of our lives”
Dialogue: Scene following 3a until “And bless thee for this sacrifice”
Wilfred – Baritone (G2 – E4)
Wilfred holds the esteemed post of ‘assistant torturer’ at the Tower of London, but he is possibly the most insipid and most infuriating person you’ll ever meet. Eloquent and openly vulnerable, he’s not at all shy about his love for Phoebe, but sadly he is lacking in most skills that would aid him in winning her love. Think sad puppy; a hopeless romantic, but immature and petulant when he doesn’t get his way. He is VERY jealous of Fairfax and is very open about wanting him out of the way. Sadly, the only thing he is good at is torturing people, but he’s really, really proud of how good he is at it- think of a cat that’s brought a dead mouse onto your recently-cleaned kitchen floor- look, mum, dinner!!!! Ultimately, though, he and Phoebe probably will be very happy together once they’ve grown up a bit. Please note that we will most likely be including no. 1a; “When Jealous torments rack my soul”
Dialogue: Scene following no. 20 from “In tears, eh?” up until “My beloved!”
Sir Richard Cholmondeley (Lieutenant) – Baritone (A3 – E4)
The commander of the whole Tower and a very respected authority figure. He’s actually a real guy- you can look him up! As soon as he appears the crowd goes silent and complies- it is not your job as an actor to command respect- the chorus and the other principals will do that for you, but being able to project power while being still is essential here. What we are looking for here is someone who is very grounded and comfortable with projection, and who can convey a relatively austere front while actually having a good sense of humour. He is absurdly dry; a fun but challenging role to play.
Audition song: Act 1, No. 9 – Trio: How say you, maiden – first verse
Dialogue: Scene following no. 9 (after Jack’s speech)
Leonard Meryll – Tenor – (Gb3 – Ab4)
Meryll’s son and Phoebe’s brother- exceptionally brave and heroic and willing to put his own life on the line to save Fairfax. Ideally this performer will become a part of the chorus while they are not ‘Leonard’ so this would be a really fun track to do!
Audition song and Dialogue: Same as Colonel Fairfax
First Yeoman – Tenor, Second Yeoman – baritone, First Citizen, Second Citizen
For these roles it is best to select from the material for a character above. Please note that the second Yeoman’s solo in ‘Tower Warders’ is often given to Meryll, however we are not ruling out that the solo may be given to Second Yeoman after all. The First and Second citizens will be selected once Elsie has been cast as, since the main purpose of their roles is to assault or attempt to assault Elsie, I want the person playing her to have an input.
About Grosvenor Light Opera Company
GLOC is a leading London G&S Society, and one of the only amateur operatic societies to both rehearse and perform in Central London. As a result, we attract a membership largely of young professionals who work in the city, together with students attending the city’s universities
We perform at least one fully-staged G&S production, accompanied by a professional orchestra, every year and supplement this with other staged and semi-staged concert performances. We are a very sociable society, and organise events and parties for our members, and invariably find time for a catch-up with each other in the pub after rehearsals. We pride ourselves on being friendly and welcoming to new members. Connect with us on Facebook, X and Instagram
By Mark Pim, with suggestions from Emma Rettie and Jonathan Broad
Unfortunately time – and good taste – prevented Gilbert and Sullivan from ever writing a Eurovision song. But if they had done for some of their characters, what might they have sung?
(Get ready for some torturous G&S puns. Although some of these work suprisingly well as is)
Flying the Flag (For You) sung by The Pirate King
Oh, better far to live and die Under the brave black flag I flyall over the world Flying the flag for you (seamless)
Diva sung by Yum-Yum
Can this be vanity?
Puppet on a string sung by Lady Jane
If you say you love me aesthetically, I’ll poetically Be there Like a puppet on a string
Take me to your heaven sung by Thespis
With the score for Thespis lost, who’s to say this didn’t feature as a solo for the title character?
Save your kisses for me sung by Alexis
‘My dear, you will save all your kisses for me if you please while dancing a jaunty routine’ ‘I’m sure Dr. Daly would disapprove of it’
While you’re here – take a look at the details of our next show – The Grand Duke! Details here
Waterloo – sung by Phoebe (to Wilfred)
Wilfred – couldn’t escape if I wanted to Wilfred – knowing my fate is to be with you
Rise like a phoenix sung by Sir Roderic Murgatroyd
Now all I want to see is When the night wind howls performed in a camp Eurovision style!
Making your mind up sung by Edwin (the defendent)
But if you wanna see some more Bending the rules of the game Will let you find the one you’re looking for And then you can show that you think you know You’re making your mind up
Hold me now sung by Luiz and Casilda
Just hold me now And I will know Though we’re apart We’ll always be together 😢
Tu te reconnaîtras (you’ll recognize yourself) sung by Hilarion, Cyril, Florian, Melissa and Lady Psyche
Slightly tenuous? Yes. There are a lot of shows to find Eurovision songs for
Better the devil you know sung by Ludwig and Rudolph
Baby, don’t do things that make me blue You know my love is always true Baby, don’t do things that take their toll Like make me eat a sausage roll
Ne partez pas sans moi (don’t leave without me) sung by Leila and Celia
If there’s anyone who could have stopped the Peers from leaving, it’s Celine
Congratulations sung by Ralph and Josephine
I was afraid that maybe you thought you were above me That I was only fooling myself to think you’d love me But then tonight you said you couldn’t live without me That round about me you wanted to stay
Boom-bang-a-bang sung by Tarara
He’ll go up – Blown up with dynamite! Boom bang-a-bang-bang all the time
Bonus entry – My Lovely Horse sung by Major General Stanley
The premiere of Colin Jagger’s restored score for Gilbert and Sullivan’s The Grand Duke will be performed in London at the Bridewell Theatre on the 7th-10th June 2023, and at the International Festival in Buxton on 4th August. Buy tickets from The Grand Duke page
Colin Jagger, for 20 years Director of Music at the University of Portsmouth, hates to let error-ridden published scores detract from some of Sir Arthur Sullivan’s best music. Having previously prepared a new critical performing edition of The Yeomen of The Guard for Oxford University Press, he saw Gilbert and Sullivan’s last collaboration – The Grand Duke – as an obvious candidate for reappraisal:
“There is something about being told repeatedly that one of the last works by a great composer who was only 55 at the time, was actually very substandard – I struggled to believe it. And so, when the British Library acquired the manuscript during the pandemic and it became available to study I decided to have a look. I was immediately taken with it, and far from it being substandard, I am more inclined to think it is at least musically one of their best works.”
In preparing the score, Colin was struck with how Sullivan, “writing with a fairly basic ink pen, could work so unbelievably quickly and with so few errors”. Published scores in the intervening years have been less accurate unfortunately, introducing innumerable mistakes, discrepancies and contradictions, which have plagued amateur and professional groups attempting to produce the work ever since. And so, after nearly two years of painstaking and meticulous work, both to faithfully transcribe Sullivan’s intentions in the manuscript and to collate all the materials – music, lyrics, dialogue, stage directions, we now have what will hopefully become the de facto performing edition of this work.
The proof of any theatrical work is of course a live performance. Grosvenor Light Opera Company (GLOC) were serendipitously planning to present The Grand Duke in 2023. Colin offered them the opportunity to ‘try out’ the new edition in practice and the company leapt at the chance.
Director Vicky Simon and Musical Director Christopher Jacklin both see the piece’s flaws as a product of the fractious working relationship between the authors after personal and financial disagreements. By the time of The Grand Duke their interest in the partnership had waned and neither had interest in refining the work as they had done for previous operas. While the pair meticulously edited, supervised and revised scores and libretti to earlier works such as The Pirates of Penzance or The Mikado (and so we may regard them as definitive and authorial), The Grand Duke (which never benefitted from a revival in Gilbert’s lifetime) had far less editorial oversight or care. Colin’s new edition gives it that care, and in this production Vicky and Christopher have been judicious in cuts to the book to keep it trim and well paced, while keeping true to the setting, costuming and presentation that Gilbert and Sullivan intended.
The company have found in rehearsal that Colin’s new edition has been prepared with care not just for its authors, but for the performer. The vocal score is abundant with careful aids to musical directors and singers: alternative lyrics and underlays, optional cuts and fully cross-referenced parts and chorus books and an abridged version provides an easily accessible performing edition of the work. It’s an edition designed to be performed by companies of all sizes and resources. The vocal score and a reduced chorus score will be released for free with the orchestral parts and full score available commercially.
A new edition such as this can give this overlooked gem of a work the recognition it has lacked and enable many more companies to enjoy what it has to offer. Anyone interested in seeing the results is encouraged to book a ticket to GLOC’s production, either in London at The Bridewell Theatre on Fleet Street (7-10th June only. 7:30pm, matinee at 2:30pm on Saturday) or on the 4th August at the International Gilbert and Sullivan festival in Buxton. More details and tickets at The Grand Duke page
About Colin Jagger
Colin read music at Manchester University, before moving to the USA for a second degree in orchestral conducting. He ended up living there for seven years before moving back to the UK and got a job as Director of Music at the University of Portsmouth, where he remained for 20 years. He now devotes his time to research.
About GLOC
Grosvenor Light Opera Company is London’s leading G&S Society, and one of the only amateur operatic societies both to rehearse and perform in Central London. As a result, they attract a membership largely of young professionals, who work in the centre of town, together with some students attending one of London’s universities and colleges.
They perform at least one fully-staged G&S production, accompanied by a professional orchestra, every season and supplement this with other staged and semi-staged concert performances.
The company was founded in September 1949 by John Wilmshurst, its purpose being to study and perform the operas of Gilbert and Sullivan. Over the years it has become the leading amateur company in London for presenting the Savoy Operas.
