Light entertainment and a heavy heat/humidity quotient somehow go together perfectly. In one of Baltimore's more charming summer traditions, the Young Victorian Theatre Company makes that point each year with the help of Gilbert and Sullivan operettas. The work chosen for the troupe's 38th season is as welcome for its relative novelty as for the general quality and flair of the presentation.
The Gondoliers marked the final triumph of the extraordinary Gilbert and Sullivan franchise. Shortly after the premiere in 1889, an absurd, protracted quarrel over the expense of new carpeting at the duo's home base, London's Savoy Theatre, took a hefty toll on creative juices. Although a shaky truce eventually yielded two more G & S operettas, neither of those left a lasting mark.
If there had to be one last artistic pinnacle for these guys, The Gondoliers provides it in abundance. Above all, there's the unfailingly brilliant score. Sullivan's engaging melodies, deft turns of harmony, infectious rhythms and prismatic orchestration produce many a fully operatic moment.
It may be argued that Gilbert's plot, with its share of recycled devices, doesn't entirely measure up. But there's still more than enough mileage to be extracted from this tale of two Venetian gondolieri who, directly upon marrying their sweethearts, get caught up in a bizarre situation that involves the heir to the throne of Barataria. Some rather gentle satirical points about monarchy and republicanism are made along the way.
Although The Gondoliers never established a firm footing on these shores, it fully deserves attention, a point reaffirmed by the dynamic staging Young Vic unveiled Saturday night at the Bryn Mawr School.
In the roles of the gondolier pair, Nicholas Houhoulis (Marco) and Jimi James (Giuseppe) offered vibrant, mostly secure singing and abundant theatrical flourish. Their temporarily interrupted wives were vividly portrayed by Joy Greene (Gianetta) and Catrin Rowenna Davies (Tessa), the latter with a warmer, firmer tone.
Steven Goodman romped through the role of the silly Duke of Plaza Toro; so did Madeleine Gray as the equally silly Duchess. Brendan Cooke clearly relished the hammier aspects of the Grand Inquisitor. Natalie Conte (Casilda) and Farrar Strum (Luiz) contributed mostly smooth, stylish vocalism. The chorus sang sturdily. Jeffrey Nolt's choreography was deftly negotiated by all involved.
