The Gondoliers 1995

<— Previous show: The Magic Lozenge / Next show: Trial By Jury 1995 —>


The Gondoliers was the 23rd show performed by the society. It was performed in Central Hall on 16th-18th February 1995. Tickets were £5/£4, or £3.50/£2 for concessions.

The chair was James Stuart Bruges.

flickr:6435941023

Programme

Directors

Director
Jonathan Hassell

Musical Director
Graham Rogers

Cast

Principals
The Duke of Plaza-Toro- Toby Sharp
Luiz- Anthony Gardner
Don Alhambra Del Bolero- David Bignell
Marco Palmieri- Ashley Wilson
Giuseppe Palmieri- David Hughes
Antonio- John Gilchrist
Francesco- Thomas Steuart Fothringham
Giorgio- Michael Comac
Annibale- Nick Barton
The Duchess of Plaza-Toro- Liz Allen
Casilda- Emma Collie
Gianetta- Anne-Marie Kramer
Tessa- Jessa Marshall
Fiametta- Donna Sharp
Vittoria- Mhairi Sheail
Giulia- Erica Oliver
Inez- Berry Hopkins

Gondoliers
Stephen Bignell
Neil Vincent
James Stuart-Bruges

Contadine
Fiona Heathcote
Deborah Taylor
Rebecca Stokes
Joanna Howell
Hannah Judson
Eleanor Deveson
Melanie Grau
Ines Goerendt
Hilary Richardson
Lene Halgaard

Orchestra

Violin- Richard Whalley, Jude Brereton, Kate Cartmell
Viola- Sarah Hannah, Louise Head
Cello- Stephanie Pitts, A. N. Other
Double Bass- George Adamis
Flute- Rachel Osborne-Smith, Ania Juszczakiewicz
Oboe- Elizabeth Ashby
Clarinet- Claire Harris, Nancy Donoghue
Bassoon- Alice King, Ruth Risiott
Horn- Natasha Page, Martin Grainger
Trumpet- Oliver Brady, Kim Johnson
Trombone- Daniel Tackley, Nikol Simecek
Percussion- Kate Harry

Production Team

Production Manager- John Langdon
Lighting Engineer- Martin Atkins
Lighting Assistant- Alistair McDonald
Sound Engineer- Dave Pumfrey
Stage Manager- Cal Dollings
Set Design- John Langdon, Jonathan Hassel
Properties- Steve Daly, Sarah Baxter
Make-up and Cachucha choreographer- Tara Smith
Costumes- Cal Dollings, Ellie Deveson
Poster Design- Stephen Bignell
Photography- Rob Hill
Programme and Publicity- Stephen Bignell, Donna Sharp
Set Builders- John Langdon, Stephen Bignell, Emma Collie, Stephen Cox, Alistair McDonald, John Gilchrist, and many others.
Stage Crew- Lots of very nice people who have a very large scene change, so give them a cheer when they finish!
Front of House- Lots more nice people who at the time of going to press don’t yet know they have been roped into helping.

Committee

President- Michael Green
Vice President- Patrick Moore
Hon. Vice-President- Frank Banks

Chair- James Stuart Bruges
Secretary- Anne-Marie Kramer
Treasurer- Fiona Heathcote
P&P- Stephen Bignell, Donna Sharp
Room Bookings- Martin Atkins
Charities- Liz Allen
Music- Guy Hilton
Costumes- Cal Dollings, Ellie Deveson

Extended Programme

Director- Jonathan Hassell
Having been involved with the society for far too many years than is good for the health, Jonathan decided that this year the only way he could escape from finally getting railroaded into singing tenor was not to sing at all. Of the two options of being speechless or shouting which remained, directing sounded more possible, him [sic] never having been able to shut up much before. In a past life, Jonathan was noted for having written, directed and starred in ‘Peter Pan’. Any resemblance between this production and a pantomime is therefore totally coincidental. In his spare time Jonathan is rumoured to be pursuing a doctorate in Human Computer Interaction. He’s just not quite caught up with it yet.

Musical Director- Graham Rogers
“He has ears, and two eyes and ten fingers,
Leastways if you reckon two thumbs;
Long ago he was one of the singers,
But now he is one of the dumbs.”
-Edward Lear

Dramatis Personae

The Duke of Plaza-Toro (a Grandee of Spain)- Toby Sharp
Toby is a reluctant G&S member who was converted after auditioning for the part. His first instrument is the piano which he has been playing for 16 years. He currently plays for a pub in York to support himself and his wife (Donna) through their degrees at York. Toby is in his second year of a BSc Maths course.

Luiz (his attendant)- Anthony Gardner
Anthony’s first appearance onstage was somewhat unusual, having been cast as Judas Iscariot’s money bag. The aftershock of the role resulted in a long break from drama until he was goaded into playing a hunchback. He has since played many interesting characters, including Pooh-Bah in The Mikado, for which he was awarded a NODA as Most Promising Male in the North-West.

Don Alhambra Del Bolero (the Grand Inquisitor)- David Bignell
David, or Animal as his friends never call him, is a firm believer in the peace and philosophy of wine, women and song. This gentle nature is reflected in his past roles of a transvestite Nazi megalomaniac, a psychopathic axe-wielding murdering violinist and a satanic hound of Hell, but he claims his meteoric acting career will not get in the way of his plans to become a famous violinist and marry Babs Bunny.

Marco Palmieri- Ashley Wilson
G&S regulars will not be surprised to see Ashley onstage as he has appeared in the society’s shows (on and off) for “a few” years. Due to huge public demand, he is returning to Central Hall this year to recreate the much-acclaimed role of Macho Marco. Signed photos are available from the Ashley Wilson Fan Club, c/o G&S Society, Goodricke College. (All information supplied by fan club secretary).

Giuseppe Palmieri- David Hughes
David is a third-year who studies econometrics in his spare time. The highlight of his musical career so far is playing Toad in the Glee Club’s production of “Wind in the Willows”. With luck, David will be teaching in Japan next year where he’ll use his G&S experience to produce “The Mikado”. As the lynchpin on the Duke of Plaza-Toro’s audacious, yet cunning, global marketing strategy, David is being
sponsored by ‘Campus Ken’ Fairburn.

Antonio- John Gilchrist

Francesco- Thomas Steuart Fothringham

Giorgio- Michael Comac

Annibale- Nick Barton

The Duchess of Plaza-Toro- Liz Allen
As was the case in 1989, Liz continues to claim to be doing a degree in Social Policy. Early stage appearances were with Goole amateurs in the early 1980s. She has featured in the chorus in this society for the last six years. Last year’s part as a drunken fairy enables her to study the behaviour of alcoholics through participant observation. This year she has read up on assertiveness training and “How to Marry into Money” in an effort to sympathise with her character.

Casilda (her daughter)- Emma Collie
Emma once wanted to go to drama school and become a real actress but gave it all up to join G&S instead. Famed throughout Yorkshire for her rendition of “I’m Forever Blowing Bubbles”, she is on cooker-tips terms with the remaining three Beatles. She studies English very hard in between attacks of music practice, which usually wear off after a nice cup of tea.

Gianetta- Anne-Marie Kramer
This year Anne-Marie has found her true role as a passionate Italian, again marrying Ashley- for the third time (!?!). As secretary and Gianetta, she leads a curious double life, juggling her ever-important society duties and ‘the rest of her life’. This is the last time she will grace the stage of Central Hall since she is leaving to travel the world with a rucksack full of G&S scores (maybe not).

Tessa- Jessa Marshall
One of the society’s tax-paying members, Jessa works as a respectable(ish) school teacher in Leeds, where she is indoctrinating 7-11 year-olds with The Pirates of Penzance. Since appearing in the male chorus last year, Jessa has achieved the amazing voice leap from second tenor to mezzo-soprano, a mystery to all. She is breaking the habit of a lifetime in this show by falling for a baritone.

Fiametta- Donna Sharp

Vittoria- Mhairi Sheail

Giulia- Erica Oliver

Inez (the King’s foster-mother)- Berry Hopkins

Production Crew

Production Manager- John Langdon
John claims not to be responsible for this year’s set whilst attempting to pursue a career in third-year history- thus involving much panicking and screams of anguish. A generally reserved character, he has however found true joy and fulfilment by sneaking up on people and yelling at them for not turning up to set building. John claims he loves G&S and will one day actually sing in a show!

Lighting Engineer- Martin Atkins
Martin first joined G&S to operate a follow-spot and has now been a member for so long that he has had the top job for several years. During the rest of the year he is tolerated in the chorus, but for the main shows he prefers to make a purely visual contribution, and if he occasionally joins in then the lighting box is, we are assured, completely sound-proof.

Lighting Assistant- Alistair McDonald

Sound Engineer- Dave Pumfrey

Stage Manager- Cal Dollings
Cal manages the stage. Being an inanimate object, the stage is about all she can currently manage (apart from five points of ‘Old Peculiar’). She is currently appearing behind the scenes in “Sets, Lies and Gaffer Tape”- changing the set (it’s definitely safe- honest); lying (no, really it is safe) and sticking the costumes together with gaffer tape (“She assured me she was a size ten!”).

Set Design- John Langdon, Jonathan Hassel

Properties- Steve Daly, Sarah Baxter

Make-up and Cachucha choreographer- Tara Smith
Tara felt that her life was meaningless and empty- and then she discovered the Cachucha!

Costumes- Cal Dollings, Ellie Deveson

Poster Design- Stephen Bignell

Photography- Rob Hill

Programme and Publicity- Stephen Bignell, Donna Sharp

Set Builders- John Langdon, Stephen Bignell, Emma Collie, Stephen Cox, Alistair McDonald, John Gilchrist, and many others.

Stage Crew- Lots of very nice people who have a very large scene change, so give them a cheer when they finish!

Front of House- Lots more nice people who at the time of going to press don’t yet know they have been roped into helping.

Everything You Should Have Asked About Scores

This sheet was handed out to members of the society in 1995 to help them understand the score lending system.

First, a couple of definitions for the uninitiated:
Score: Big thick book of music that belongs to Wakefield library, not you, me, the society, or anyone at all approachable or forgiving. Do not write on one.
Libretto: Italian word meaning “Smaller wordy book like a play script that belongs to Wakefield library, not me, you, the society, or anyone who won’t send you swimming in concrete boots if you lose it”. If you must write on one, use pencil (and rub it out afterwards).
Now some common questions:
Do I need a score? Everyone in the world should have a score. Get one now: I guarantee it will bring happiness to your life.
Do I need a lib? While a lib will also bring huge fulfilment, we only have a limited number of these, so unless you really desperately need one, I’m afraid there will be a yawning void in your life (phone the Samaritans, by all means, but Banks’ Music on Lendal will be more helpful- and offer a student discount). Do you need a lib? If you have to ask, (as the saying goes), probably not, but ask Guy, Graham or Jon, anyway.
How do I get these things, anyway? Easy. Ask Guy. (Please somebody talk to him, he’s fed up with people ignoring him.)
Will he want anything in return? Erm… yes. Before you are given either a score or a lib, you need to give Guy or Fiona two things: 1) The completed form below 2) A cheque for FIVE POUNDS for a lib only, TEN POUNDS for a score only, or (bargain!) FIFTEEN POUNDS for one of each. The cheque must be dated 20 Feb 1995 (for reasons which will become apparent).
WHAAAAAT!!!? A cheque. But, and this is- IMPORTANT- the cheque will NOT be cashed, if you return the score/lib/both promptly- it will be returned to you, or destroyed. If you fail to return any book, the society will be forced to cash the cheque to compensate Wakefield, because it’s their property.
I have one more question… No you haven’t, it’s all perfectly clear. Oh, alright then, it’s mostly fairly clear. Please, please don’t hesitate to get in touch with Guy for even the smallest most stupid question (via Goodricke, Socs pigeonhole, or email gjh2).

Letter to the Charities Representative

Dated 21/2/1995.

Dear Miss Allen,
May I, on behalf of the members of the club, thank you and the G&S Society, for the inviting us to attend your matinee performance of the “Gondoliers” last Saturday. It was an excellent performance (as is usual at these events) both from a singing and an acting point of view. You do, indeed get better with each operetta, and we all thoroughly enjoyed ourselves. Not only was the performance enjoyed but the kindness of the people who were detailed to act as ushers and who helped in other ways to make our afternoon a memorable one was much appreciated.
Once again, many thanks and may you all achieve much success in your future endeavours.

Yours faithfully,

Mrs H. M. Dobson
(Secretary, York Citadel Over 60’s Club)

Unless otherwise stated, the content of this page is licensed under Creative Commons Attribution-ShareAlike 3.0 License