G&S Fest – State Opera South Australia 2023

A10-DAY CELEBRATION OFGILBERT ANDSULLIVAN

StateOperaSouthAustralia presents

11–21MAY2023

Australia’sfrstfestivalcelebrating thefoundingfathersof Britishcomicopera

WerespectFirstNationspeoplearoundAustraliaandacknowledgethe KaurnapeopleasthetraditionalcustodiansoftheAdelaidePlains. Wehonourtheirspiritualrelationshipwiththeircountry andwedosointhespiritofreconciliation.

gandsfest.com•stateopera.com.au

WelcometotheG&SFest!

GilbertandSullivanhavebeen delightingaudiencesaround theworldformorethana hundredandfiftyyears.

WithAdelaideproudly beingagloballyrenowned festivalcityaswellasAustralia’s onlyUNESCOCityofMusic,it isincrediblyexcitingand fittingtoaddthisnewGilbert andSullivanfestivaltoSouth Australia’sjam-packedcalendarofevents.

TheG&SFESTisexclusivetoAdelaideandtheonly festivalofitskindoutsideoftheUnitedKingdom. PresentedbyStateOperaSouthAustralia,thisunique celebrationofGilbertandSullivan–consideredby manytobethefoundingfathersofBritishcomic opera–issuretobeamemorableexperience.

Thefestivalpromisestodeliveranaction-packed programofperformances,conversationsandlaughsin thecourseoftendays,with18performancesoffour comicoperas,includingthebelovedclassics Piratesof Penzance and H.M.S.Pinafore “Thingsareseldomwhattheyseem”butthisissure tobeanextraordinaryeventforaficionadosand newcomersalike.

AndreaMichaels mp MinisterforArts

Iwasfirstacquaintedwiththe worksofGilbertandSullivanasa younggirl,takentoseetheG&S SocietyofSA’s Mikado.Whenthe inimitableDennisOlsenand ThomasEdmondsperformed Gilbert&Sullivanhighlightsatmy school,Iwashooked!

Thisledtoalongassociation withtheG&SSocietyofSA.Ieven stayedanightatW.S.Gilbert’s home,Grim’sDyke.Itisalsowhatledmeintotheworld ofopera.Soitwillcomeasnosurprisethatwhenour talentedArtisticDirectorandtheAustralianaficionadoof G&S,StuartMaunder,suggestedaGilbertandSullivan festival,Iwasfullyinsupport.AndasthefirstStateOpera productionduringmytimeasChair,itwas“toomuch happiness!”

YoumaybesurprisedathowtheworksofGilbertand Sullivanpervadeourlivesandculture.Howoftenhave youreferredtosomeoneasthe“GrandPooh-Bah”or heardthat“thepunishmentfitthecrime”?Andmanya ladremembersbeingforcedtoplayoneofthethree littlemaidsinanall-boysschool Mikado!

Gilbert’switandSullivan’sclevermusiccreateda uniquepartnershipandformedthebasisfromwhich musicaltheatreevolved–think Oklahoma!, Sweeney Todd and Hamilton.StateOpera’sG&SFESTprovidesa uniqueopportunitytorevisittheoriginalsandthebest, andIhopethatyouenjoythesetendaysofG&Sjoy–mayyourrapturenotbemodified!

MasterElizabethOlsson Chair(butnotGrandPooh-Bah!) StateOperaSouthAustralia

Operabyitsverynatureis collaborative.Thiscouldnotbe truerthanwhatwehaveseen thecompanyofStateOpera SouthAustraliadoinpreparation forthisG&SFEST.Monthsof planningandpreparationhave broughtustoMarvellousMay whenallthehardworkturnsinto thejoyofGilbertandSullivan! Whatyouseeonstageisonly thetipoftheiceberg.Behindthescenesisabandof dedicatedanddiligentstaff.Thecommitmentand energyoftheteamissomethingtobehold,andIam proudtocountmyselfamongthepeoplewhobring theirpassionforoperatolife.

Icannotgoonwithoutmentioningtheman responsibleforthefestival,ourArtisticDirectorStuart Maunder.HiscontagiousloveofGilbertandSullivanhas permeatedthecompany,makingenthusiastsofusall.

Sadly,theG&SFESTmarkstheendofStuart’stenureas ArtisticDirector.ButIcannotthinkofamoreglorious waytocelebrateandthankthemanwhohashelped shapeStateOperaintothecompanyitistoday.Iwould liketoextendmypersonalgratitudeandadmirationto Stuart.IknowIspeakforeveryonewho’shadthejoyof workingwithhimovertheyearswhenthankinghimfor allhe’sdoneduringhistimewithus.

Toouraudiences,donors,sponsors,friends,partners andBoardMembers:thankyouforjoiningusand experiencingthejoyoftheG&SFEST!

MarkTaylor ExecutiveDirector

FromtheArtisticDirector

I’velovedGilbertandSullivansinceIsawmyfirstproductionof ThePiratesofPenzance in 1965,andI’vebeenworshippingattheshrineeversince.Mydevotionshavetakenmetothe verysource(directing Pirates fortheD’OylyCarteOperaCompanywasacareerhighlight)–aroundtheworldandbackhome.

Nowit’sAdelaide’sturn.HavingassembledamarvellousensembleofAustralian performersandcreativestostagetheseworks,we’vebeenabletoturntheeventintothe kindoffestivalneverbeforeseenintheSouthernHemisphere.Wehavea“BigSing” communityperformanceof TheSorcerer,recitals,late-nightcabaret,filmscreeningsand evenachoralevensongtoshowusSullivan’sseriousside.

There’snotheatricalphenomenoninAustraliathatrivalsthestayingpowerofGilbertand Sullivan.Australia’sloveaffairwithG&S(howmanycreatorsareinstantlyrecognisedbytheir initialsalone?)isasoldandenduringastheworksthemselves.ThedurabilityofG&S,nearly 150yearson,isextraordinarybutnotinexplicable.Gilbert’ssatiricalsituations–aFirstLord oftheAdmiraltywho’sneverbeentosea,ridiculouslegaltechnicalities,aMajor-General whoknowseverythingabouteverythingexceptthemilitary–arestillfunny.Andlet’sfaceit, strangerthingshappenonprimetimeTV!

ManywillcometothisfestivalwithabsolutelynoknowledgeoftheG&Stradition.Withall theentertainmentoptionsavailabletoday,G&Sisnolongerthe“goto”forpersonal amusement.Ihopetorecruitawholenewgenerationofconverts,andtogetherwecan discoverthemanydelightsofthesedeliciousconcoctionsafresh.

AnyoneofG&S’soperasisarichlyjoyousexperience.Oneminuteyou’llbecryingwith laughter,thenextyou’llbedeeplymovedbysomeheartfeltscenethatstillringstrue. Sullivan’smusic,inparticular,offersaromantic,humanisingfoiltoGilbert’sdrolleryand cynicism,almostsabotagingthewordsashetransformsthemwithgloriousmelody.

Iwelcomeyoutothisfestival,whetheryou’reattendingoneperformanceorindulgingin thecompleteexperience.AndIcanpromise,withouthesitation,moretralalaspersquare inchthananywhereelseintheworld!

StuartMaunder am ArtisticDirector StateOperaSouthAustralia

Satireandsillinessaretwoof mankind’sgreatestpleasures. Tryit–Idareyounottoloveit!

TopBillingforthe ‘HiredHelp’

piratein ThePiratesofPenzance andamarinein H.M.S. Pinafore –butnevermanagedtogainpromotionbeyond thechorus.Despitethelimitationsofmylarynx,Istilllove thatsimple,stylisedmusic,three-quartersself-parody.

Thegreathumangiftofsongevolvedinourbrainsfor goodreason:musicandpoetry,rhythmandrhyme, hand-in-glove,werehowwerememberedstuff,howwe storedtheknowledgeofthetribe,forthemillionyears beforethosebrainsinventedtheirfirstexternalhard memory:quillandpapyrus,chiselandclaytablet.It’swhy westillremember,wordperfect,ourfirstnurseryrhymes, orfartoomanysurpluspoplyrics.

Amongthenurseryrhymesthathavebeenstuckinmy headfortoomanydecadesare,unusually,anynumberof wordsbyoneW.S.Gilbert.

WeneverhadtelevisionwhenIwasachild,butwehad apiano,whichbothmyparentsplayed.Yes,wehada radio,thencalledawireless,butthefirstmemoriesof musicthatIcangeolocate,orperhapschronolocate, comefromMinlaton,thetowninwhichinwhichIwas born,andtheagethree,whenIhuddledbeneaththe pianoasmymotherrehearsedheraccompanimentsfor theMinlatonHighSchoolproductionof TheGondoliers Dad,ateacherattheschool,sangintheproductionand directedthestudentsingers.SometimesIattended rehearsalsattheschool,cagedbeneaththepianoand Mum’slegs,withtheextrapercussion,ifonlyforme,of herfeetpressingthesqueakypedals,rhythmically, addingforcetothemusic.

Iremembernextyear’sproduction– TheMikado –evenmoreclearly:theycamewithprop-makingsessions oversconesandteaafterrehearsals,asthecastgluedthe exquisitepaperfanstheartteacherhadpaintedtothe woodenribsthewoodworkteacherhadcontributed.The smellofacetone-basedglues–Tarzan’sgripwasmy favouritefordecades–alwaysbeamedmestraightback toGilbert’sexoticisedJapan,ifnotenoughtotakeup regularglue-sniffingasameansofsuchtime-travelling.

MyparentswentontoproducenumerousGilbert& Sullivanoperettasinothertowns.Mymotherwasalways downintheengine-room–herpianoanorchestraof one,inamakeshiftpit–whileDadwasuponthebridge, eithersingingorconducting.Slowaheadtwothirds, dear.Anotherindeliblememory,myshockatage12,as myDad,bynowarespectableschoolHeadmaster, boundedontothestageatthefirstdressrehearsalof TrialbyJury wearingarakishstrawboaterandstriped blazer,withapencil-thincad’smoustache.

IsangasamemberofthejuryforthatPenolaHigh production.Later,atDarwinHighSchool,Iplayeda

Ihavehadtheimmenseluckofwritingwordsforfar bettersingers,whichtaughtmetoappreciateanother greatvirtueinGilbert&Sullivan:theirsistheonlysuch creativeteaminwhichthelibrettistgetstopbilling.This waspartlybecauseGilbertwastheproduceraswellas thewriteroftheSavoyOperas,andcouldbillhimself anywhereheliked,butmostlybecausehiswitty,clever librettiaremorethantheequalofthewitty,clevermusic. Andequallymemorable.

TherearenoDaPonte&Mozartsocieties.Thenormis this:thelibrettististhehiredhelp.Which,asthe occasionalhiredhelp,aggrievesmeattimes.Ilikethe inventionofsurtitles!ButI’mforcedtoadmit:weusually humthetunesonthewayoutofanopera,wedon’t recitethewords.

ExceptwithGilbert’s.Healsowroteplays,highly regardedbyOscarWildeandGeorgeBernardShaw,and reamsoflight,satiricalverse–bookafterbookof‘Bab Ballads’–butthesemostlylackthebrillianceofhislyrics fortheoperettas.Theirincreasinglywildrhymeschemes onlyaddtotheirmemorability,andtheferocityoftheir satire,especiallywhenaimedatincompetent time-servinggenerals,admirals,judges, andpoliticians.Thereisnothingquiteas goodinhishundredsofballadsasSir JosephPorter’sRuleroftheQueen’s Navy–“Stickclosetoyourdesksand nevergotosea/Andyouallmayberulers oftheQueen’sNavee!”ortheJudgein TrialbyJury:“Thoughallmylawbe fudge,YetI’llnever,neverbudge,for nowI’majudge.”

Butaboveallthereisanew,freeassociatinginventivenessintherhymes. Here’soneofmyfavourites,from Iolanthe:

WheninthatHouseMPsdivide Ifthey’vethebrainandcerebellumto, Theyhavetoleavethatbrainoutside Andvotejustastheirleaderstell’emto. “Cerebellumto”rhymedwith“tell’emto”? Whathappenedbetweenthemoreprosaic earlypoems,andthis?Maybehereadthe poetryofByronagain,wheredislocating rhymeslike‘satirehe’with‘battery’are common,especiallyin DonJuan perhapsthegreatestcomicpoem,and

PeterGoldsworthyreflectsonthegeniusof WilliamSchwenckGilbert

certainlythelongest,everwritten.Ihadabigattackof déjàvu yearsbackwhenIreadthefollowingdescription ofourhero’smother,DonnaInez,inCantoOne: Herfavouritesciencewasthemathematical, Hernoblestvirtuewashermagnanimity, Herwit(shesometimestriedatwit)wasAtticall, Herserioussayingsdarken’dtosublimity; Inshort,inallthingsshewasfairlywhatIcall Aprodigy—hermorningdresswasdimity, Hereveningsilk,or,inthesummer,muslin, Andotherstuffs,withwhichIwon’tstaypuzzlin’ Hadn’tIheardsomethinglikethatsettomusic somewhere?Theverymodelofamajorsongabout someoneelse?

IfGilbertwasinfluencedbyByron,hisowninfluence spreadtherhymingfunfarandwide,mostobviouslyon thegreatTinPanAlleylyricistsofNewYork–Ira Gershwin,especially.EchoesofGilbertcanbeheardin suchfamousGershwincoupletsas“I’mbidin’myTime/ ’Causethat’sthekindofguyI’m”andthevarioussublime jokesin“ItAin’tNecessarilySo”:“Thethingsthatyou’re liable/toreadintheBible…”or“NowJonahhelivedina whale/hemadehishomein/thatfish’sabdomen.”

Writersofcomicpoetryeversincehaveowed somethingtoGilbert.FromOgdenNash’s Kangaroo: OKangaroo,OKangaroo, Begratefulthatyou’reinthezoo, Andnottransmutedbyaboomerang Tozestful,tangyKangaroomeringue.

Ofcourse,themusicalsettingsofGilbert’slyrics(What wasthecomposer’snameagain?Arthursomething?)

makesthemevenmorememorable,justasthemusicof IraGershwin’sbrother(hisnameisonthetipofmy tongue)didforhis.Thisisevenmoresointhenon-comic music.Therearesuperblyricalset-piecesinthe operettas–“TheSunWhoseRays”from TheMikado for one–whereweseeSullivan’spowersatfullreach.

Ofcoursetheyneededeachother.Hasthereever beensuchaperfectmatch,despiteplentyofmarital disputesandaneventualdivorce?Istillcan’tgetthose earwormsoutofmyheadforadayortwoafterchance hearings.W.S.Gilbertisstilltheverymodelfora moderncomiclibrettist–andserious lyriciststoo.

PeterGoldsworthy©2023

Adaptedfrom NavelGazing –a collectionofessaysbyPeterGoldsworthy (PenguinBooks,1998)

“Thenormisthis:thelibrettististhehiredhelp.Which,as theoccasionalhiredhelp,aggrievesmeattimes.”

PHOTO:JEFFESTANISLAO

IraGershwinatworkwithhiscomposerbrother–what was hisname?

Betweenthem,LorenzoDaPonteandthatotherguy createdamagnificenttrilogyofoperas.

TheWhyandWherefore

Itwasasurprisinglyinauspiciousstarttothemost enduringpartnershipintheatricalhistory.William SchwenckGilbertfirstmetArthurSeymourSullivanin 1869,duringarehearsalfor AgesAgo,anoperettafor whichGilberthadwrittenthelibretto.Thetwomen chattedbriefly–andmovedon.

Sullivanwas27,charming,formalandintrospective.He wasthesonofthebandmasteroftheRoyalMilitary CollegeatSandhurstandaspiredtoacareerin“serious” music.Hewasanaccomplishedpianistatfiveandbythe timehewas12hecouldplayeveryinstrumentinthe militaryband.Hisfirstsong,“OIsrael”,waspublished whenhewasonly13;threeyearslaterhewassentto Germanytostudymusicandtrainasaconductor.In1862, hisincidentalmusicfor TheTempest broughthimfame overnight.Londonsocietyembraced himandheconsolidatedhis reputationwithastringofsuccessful songs,cantatasandoratorios.

In1867Sullivan’sdevotionto seriousmusicwastemporarilydivertedbyacollaboration withlibrettistFrancisC.Burnand.Theresult,ashortcomic operettacalled CoxandBox,orTheLongLostBrothers,of whichthecriticforthepopularpaper Fun wrote:“Mr. Sullivan’smusicis,inmanyplaces,oftoohighaclassfor thegrotesquelyabsurdplot...”Thewritersignedhimself “W.S.Gilbert”.

AtthetimehemetSullivan,Gilbertwas33,alarge, brusque,sardonicextrovert,thesonofaretiredRoyal Navysurgeon.Bornin1836,heabhorredhisgiven names,especially“Schwenck”,andmuchpreferredusing hisinitials.W.S.Gilbert’searlylifehadbeenappropriately dramatic:attheageofthree,whileholidayingwithhis parentsinNaples,hewaskidnappedbybrigandsand ransomedfor£25.Heneverforgottheincident;many yearslatertherewereechoesofitintheplotsof The PiratesofPenzance and TheGondoliers.

LikeSullivan,Gilbertwaswellintohisultimatecareer beforehefinishedschool.AttheGreatEalingSchoolin Londonhedevelopedaninterestinthetheatreand wroteplaysforhisfellowpupils.Afteranunsuccessful attempttojoinCharlesKean’scompanyasanactor,he wenttoKing’sCollege,Cambridge.Hespentfouryears asaclerkatthePrivyCouncilChambersbeforestudying lawattheInnerTemple.In1863hesetupchambersin Clement’sInnandforfouryearspractisedasabarrister–withnonoticeablesuccess–whilewritingcriticisms, stories,articlesandpoetryfor Fun

Itwastheenormoussuccessofhissavagelysatirical Bab Ballads duringthe1860sthatledtothecommissioning ofhisfirstdramaticwork,ashortChristmaspiececalled Dulcarmara.Itopenedon29December1866andmade itsauthor£30richer.ItwasenoughforGilberttoturnhis backonthelaw,marry,andconcentrateonthetheatre. Soonhehadastringofcomedies,burlesques,comic writingsandcritiquestohiscredit.

In1869Gilbertprovidedthelyricsfor AgesAgo.The musicwasbyFredericClay,laterbestknownforhis ballad“I’llSingTheeSongsofAraby”.Clayhaddedicated hisscoretohisfriendArthurSullivan,anditwasClaywho introducedSullivantoGilbert.Withtypicalmischief, GilbertflooredSullivanwithanobtusequestionabout musicnotation.Flustered,Sullivanmutteredthathe wouldhavetothinkaboutananswer–andthat,forthe timebeing,wasthat.

In1870Gilbertbecame TheObserver’scorrespondent attheFranco–PrussianWar,andhisfirst“fairyplay”– The PalaceofTruth –wasproducedattheHaymarket Theatre.Itwasfollowedby PygmalionandGalatea,hisfirst popularsuccess,andby“amusical legend”called TheGentlemanin Black,againwithmusicbyClay.

In1871MrGilbertandMrSullivanmetagain.

ThemeetingwasengineeredbyentrepreneurJohn Hollingshead,whocommissionedfromthem“anentirely originalgrotesqueopera”forhisGaietyTheatreinthe Strand.Theresult, Thespis,orTheGodsGrownOld, openedon26December1871.Thoughitwasgenerally wellreceived,allthatsurvivesisonepublishedsongand achorusthatSullivanlaterreusedin ThePiratesof Penzance (“Climbingoverrockymountain”).

Again,thetwomenwenttheirseparateways.Gilbert steeredanerraticcourse,writingplaysandfarcesand arguingenthusiasticallywithalmosteveryone.Sullivan sailedsedatelyon,pouringoutoratorios,hymnsand drawingroomballads,admiredbyLondonsocietyandin increasingfavourwiththeroyalfamily.

Then,in1875,theywerereintroducedbyRichard D’OylyCarte,theenergeticandresourceful31-year-old managerofthelittleRoyaltyTheatreinDeanStreet,Soho. Cartecommissionedfromthemashort“afterpiece”to followhisproductionoftheOffenbach’s Périchole

Gilbertdecidedtorecycleanideahe’dexploredina piecehehadwrittenfor Fun.Thesettingwastobea realisticcourtroomwhereabreachofpromisecasewas tobeheard.GilbertreadthelibrettotoSullivanone morninginFebruary.Sullivanwasimpressedand completedthescoreintwoweeks.Their“dramatic cantata” TrialbyJury openedattheRoyaltyon25March 1875.Itsbubblingscorecombinedwithitswittyplot,

FrankVanStratenintroducesGilbertandSullivan andtheoriginsoftheircreativepartnership

AnEnglishcomicopera traditionwasreborn.

characterisationsandlyricstoend,almostovernight,the Frenchdominationofthelightmusicalstage.AnEnglish comicoperatradition,dormantsinceJohnGay’s Beggar’s Opera of1728,wasreborn.Itssuccesswassogreatthatit soonovershadowed LaPérichole

ThepartnershipofGilbertandSullivanwasunderway, itsoftenstormyprogressfostered byCarte’sseeminglyinexhaustible patience.Overthenextquarter century,theyweretocreatean astonishingcanonofpopular, enduringsuccesses.In1877, The Sorcerer,afull-lengthcomic opera,waspremieredatRichard D’OylyCarte’sOperaComique,a theatreinoneoftheless salubriousareasofftheStrand. OneofitsconductorswasEugène Goossens,whosegrandsonwould becomechiefconductorofthe SydneySymphonyOrchestra.It enjoyedamoderatelysuccessful runof175performances.

Sensingthatthepartnershipof GilbertandSullivanhaduntapped potential,Carteinsistedona furthercollaborationthefollowingyear.Sullivanwasin Nice,gamblingandsufferingfromearlyboutsoftheill healththatwouldplaguehimfortherestofhislife. SomehowCartepersuadedhimtoputasideplansfora neworatorio,whileGilbertreworkedthemeshehad exploredinthreeofhis BabBallads,including“The BumboatWoman’sStory”.

Theresultwasawittyrompinvolvinginnocentmaidens, gallantseamenandanincompetentFirstLordofthe AdmiraltycalledSirJosephPorter–acheekysatireofthe realFirstLordinDisraeli’sgovernment,newsagent W.H.Smith.Itwascalled H.M.S.Pinafore,orTheLassThat LovedaSailor.Inspiteofhishealth,Sullivancreateda scorethatperfectlycomplementedGilbert’splot.“I wouldcomposeafewbars,”hewrote,“andthenbe almostinsensiblefrompain.Neverwasmusicwritten undersuchdistressingconditions.”

Gilbertrealisedthepiece’sironywouldworkbestina settingofcompleteaccuracy,sohetravelledto Portsmouth,notingtheminutiaofnavalroutine,and makingdetailedsketchesoftheships’riggingandthe officers’andsailors’uniforms.Navaltailorswere contractedtomakethecostumes,andGilbertdrilledthe castandcrewwithanauthoritythatwouldnothavebeen outofplaceintheQueen’sNavee.

On25May1878 H.M.S.Pinafore setsailattheOpera Comique.Theaudiencewasenthusiasticandthereviews

wereexcellent–allexceptthe DailyTelegraph dismisseditas“afrothyproductiondestinedsoonto subsideintonothingness”.The Telegraph wasnearlyright. Aheatwave,thetheatre’sslumlocationandacertain affrontatGilbert’smockeryofasacrosanctBritish institutiontooktheirtoll.Closingnoticeswerepostedand itlookedasif H.M.S.Pinafore was abouttosink.ItwasSullivanwho savedtheship.Afterheconducted asuiteof Pinafore musicatthe CoventGardenpromenade concerts,theboxofficeboomed. Barrelorgansgroundout Pinafore tunes;10,000copiesofthesheet musicweresoldinasingleday. Thatinitialrunextendedtomore than570performances,andD’Oyly Cartewassoonbusilyorganising touringcompanies.

Theextraordinarypopularityof H.M.S.Pinafore inanerawhen copyrightwasproblematicatbest sawaproliferationofpirated productions,notonlyinLondon butthroughouttheUnitedStates. Thisledtothedecisiontopremiere GilbertandSullivan’snextpiece, ThePiratesofPenzance, near-concurrentlyonbothsidesoftheAtlantic.NewYork sawthepremiereon31December1879;ahastily organisedread-throughwaspresentedtheafternoon beforeinDevontosecuretheBritishcopyright. Pirates thenopenedinLondonattheOperaComiqueon3April 1880andranforafullyear.

Afurtherninecreationsemergedfromtheirpartnership, mostofthemlaunchedattheSavoyTheatre.Theyinclude jewelssuchas Iolanthe (1882), TheMikado (1885)and The Gondoliers (1889)but,withthepossibleexceptionof The Mikado,nonehaveprovedquitesolastinginappealas thoseearlycomicoperas, Pinafore and Pirates,which formthehighlightsofthisG&Sfestival.

So,asthe H.M.S.Pinafore andanunnamedpirateship offthecoastofCornwallonceagainweighanchor,let’s givethreecheers–andonecheermore–forthetwo remarkableVictoriangentlemenwhoseimagination, geniusandwithavemadethisfestivaloftopsy-turvy frivolitypossible.

AdaptedfromanarticlebyFrankVanStraten©2005/2023

FrankVanStraten am isaperformingartshistorian,writer, broadcaster,andformerdirectoroftheAustralian PerformingArtsCollectionatArtsCentreMelbourne.

ThepartnershipofGilbertandSullivan wasunderway,itsoftenstormy progressfosteredbyCarte’sseemingly inexhaustiblepatience.

G&S:AnAussieLoveAffair

GilbertandSullivanmaybeEnglishthrough-andthrough,buttheircomicandmusicalgeniushas alwaysappealedtoAustralianaudiences

ThisfestivalmightbeuniqueintheSouthernHemisphere, butGilbertandSullivan’scomicoperashavebeena stapleofpopulartheatreinAustraliafromtheoutset. Theirveryfirstcollaboration, TrialbyJury,wasfirstseen byAustralianaudienceson26June1876,whenitopened atMelbourne’sPrinceofWalesOperaHouse,amere15 monthsafteritsLondonpremiere.(Thefollowingmonth, alongsideadsforHockin’sImprovedPatentSeidlitz Powder,theSouthAustralianRegisterwaspromotinga bookwiththemusicandwords–itwouldhavesetyou backtwoshillingsandsixpence.)

InMelbourne, TrialbyJury waspresentedasanafterpiecetoanotherOffenbachoperetta, LabelleHélène, by Irish-bornimpresarioWilliamSaurinLyster,whohad achievedconsiderablesuccesspresentinggrandoperain theAustraliancolonies. TheWeeklyTimes waxedlyrical: Theworkiscalleda“cantata”,butthattitlehasbeen bestoweduponitsomewhatloosely.Itisinrealitya musicalfarce,differingfromordinaryfarcesbyreason ofthemusicbeingsoexcellent,andthesituationsso outrageouslycomical.Itisoneofthefunniest,noisiest, andmostextravagantburlesquesconceivable,andit hasattractedalargeshareofpublicattention.Its musicalqualitiesareofaveryhighorderindeed.Each solo,concertedpiece,orchorusisageminitsway— tuneful,pretty,andtaking.

Sydneyhadtowaituntil28September1877,when Trial byJury servedasacurtain-raiserforOffenbach’s GenevièvedeBrabant presentedattheTheatreRoyalby GeorgeBenjaminAllen’sEnglishComicOperaCompany.

Adelaidesaw TrialbyJury thefollowingyear,whenthe touringSoldeneEnglishComicOperaCompany presentedan“immenselyenjoyable”performancetoan overflowingauditoriumattheTheatreRoyalon17April 1878.Accordingtothe EveningJournal,itwasthefirst professionalperformanceof TrialbyJury inAdelaidebut itwasalreadywell-knowntoplaygoersinthecity.“Mr. WallacerepresentedthecharacterofthelearnedJudge, andkepttheaudienceinroarsoflaughter.”Muchlater, afterWorldWarII,theGilbert&SullivanSocietyofSA (foundedin1937)chose TrialbyJury foritsfirsttheatre production.

TheSorcerer, whichhadpremieredon17November1877 atRichardD’OylyCarte’sOperaComique,tookonlyeight monthstoreachAustralia.ItwaspremieredinMelbourne bytheAmericansMrandMrsHoraceLingardatthe

AcademyofMusicon28July1879,andinSydneybyKelly andLeon’slivelyAmericanminstreltroupethefollowing month.EdwinKellyappearedasJohnWellingtonWells andFrancisLeonindragasAline.(Whentheyadded Trial byJury totheirrepertoire,KellywastheLearnedJudge, LeonthePlaintiff.)

InAdelaidein1883,theSouthAustralianAmateur OperaCo.presented TheSorcerer foritsinaugural performances,atGarner’sAssemblyRoomsinthe presenceoftheGovernorandLadyRobinson.The ExpressandTelegaph journalistwhoattendedthedress rehearsalpredictedtheperformanceofthis“racyand enjoyable”workwould“rivalaprofessional entertainment”. The SouthAustralianRegister devoted manycolumninchestoareviewoftheperformance, lavishingpraiseontheeffortsoftheamateuropera singers,especiallythe“puresweetsoprano”ofMiss NellieO’Sullivan,whilelamenting:

Operaofallkindshasgenerallycometobean establishedinstitutioninmoderncivilization,although inAdelaidewearedependentforitspresentation uponperipateticmanagers,theranksofwhose companiesareusuallyfilledbyEnglishandAmerican professionalswhosevocalpowershavesodeclined astorenderengagementsintheirowncountry impossible.

TheopeningLondonseasonof H.M.S.Pinafore in1878 wasaroaringsuccess.Butwithinafewweeksof Pinafore’sLondontriumph,Carte’sformerbusiness associatessetuparivalproductionattheRoyalAquarium, renamedtheImperialTheatrefortheoccasion.Itwas withdrawnafter91performances,buttherewasnothing Cartecoulddotostopthepirated Pinafores that proliferatedacrosstheUnitedStates;atonestagethere wereeight Pinafores playingconcurrentlyinNewYork.

CartenegotiatedwithW.S.LysterforanAustralian production,butLystereventuallyrejecteditasbeing“too English”.ItwasAmericanactor-managerJamesCassius Williamson,alreadyapopularfigureonthecolonial stage,whoeventuallyboughttherightstopresent

In1946,G&SSAchose TrialbyJury foritsfirsttheatreproduction, presentedinAdelaide’sTivoliTheatre

Pinafore inAustraliaandNewZealandforaperiodof12 months.Theagreementwasannouncedon29April 1879–andthefirstAustralianpiratedproductionopened defiantlyattheSydneySchoolofArtsinPittStreetjust fourdayslater.ItwaspresentedbyMessrsKellyand Leon,withEdwinKellyasSirJosephandFrancisLeonas Buttercup.

SoontworivalpirateversionswereplayinginMelbourne, openingonthesamenight:7June1879.HoraceLingard presentedhisattheAcademyofMusicinBourkeSt;across thestreet,atStGeorge’sHall,theillustriousStewartfamily weregivingtheirownversion,withNellieStewart,then only21yearsold,inthetenorroleofRalphRackstraw. Shewastobecomethemostbelovedstageartisteofher time.ThefirstAustralianYum-Yumin TheMikado, she starredinmanylaterG&Sproductions,thoughnever againinthemalelead!

ThepiratesbattledawayuntilWilliamsonarrivedon 4Augustandpromptly“servedthewritswithasmileso bland”.Thefinesamountedto£950.Thusthedeckswere clearedforAustralia’sfirst“legitimate” H.M.S.Pinafore, whichpremieredon15November1879atSydney’s TheatreRoyal.WilliamsonhimselfcutafinefigureasSir Joseph,althoughhissingingwassaidtobesomewhat “unusual”.Hiswife,MaggieMoore,wasahitasJosephine. Successwasimmediateandemphatic.

Acenturylater,theyoungStateOperaSouthAustralia included H.M.S.Pinafore inits1977season,bringingit backfouryearslater.Thereturnproductionwasdirected byDenisOlsen,whoalsoplayedSirJosephandwhowas tocreatesomanydelightfulG&Seccentricsinthecourse ofhiscareer.DavidGyger,reviewingfor OperaAustralia,

wrote:“Theoverallimpressionbothinmusicaland dramatictermswasoneoffreshnessthatisrareto encounterinG.andS.…Ihadneverpreviouslyrealised quitehowlovelythe‘Pinafore’musiccansoundwhen givenallthetimeintheworldtobreathe,andwhen playedandsungsoftly.”Notonlydidtheproductionplay tofullhousesandcriticalacclaim,butitwaschosenbythe ABCasthefirstoperatobesimulcastonnational televisionandFMradio,aremarkablehonourfora regionaloperacompany.Perhapsmoreremarkably,this month’sfestivalrepresentsStateOpera’sfirst performancesof H.M.S.Pinafore since1981,aswellasits firstperformancesof Pirates and TheSorcerer

Williamson’sproductionof Pinafore markedthestartofa longandextremelyprofitableassociationbetweenthe Gilbert-Sullivan-CarteproductionlineinLondonand Williamson’santipodeanenterprise.Williamsonquickly securedtherightstoGilbertandSullivan’snextpiece, ThePiratesofPenzance, andtoalltheirfuturework.

Williamson’sproductionof Pirates openedinSydney’s TheatreRoyalon19March1881.Williamsonhimselfagain joinedthecast,playingtheSergeantofPolice,joinedby hiswifeasRuth.Thecompanyof50arrivedinAdelaideat theendofAugustforthefirstauthorisedSouthAustralian season.Thisproductionof Pirates becameahuge Australianfavouriteandwasrevivedregularlyoverthe nextcentury.

Asitturnedout,Williamson’scontractoutlastedGilbert, Sullivan,Carte and Williamson,expiringonlywhenthe G&Srepertoirepassedintopublicdomainin1961,50years afterGilbert’sdeath.J.C.Williamson,andthefirmthat carriedonafterhisdeath,presentedmanynotable revivalsofthe“original” H.M.S.Pinafore,TrialbyJury and therestofthebelovedG&Srepertoire,allfaithfultothe reveredD’OylyCartetradition,andallguaranteedto boosttheboxoffice.

AdaptedfromanarticlebyFrankVanStraten©2005/2023 WithadditionalresearchbyYvonneFrindle

NellieStewart,oneofAustralia’sfirstRalphRackstraws,andlater Yum-YuminthefirstAustralian Mikado

withDenisOlsenas SirJosephPorter)

AndrewGreene–ATribute

Agreatcoach,répétiteur,pianist,conductorandallroundextraordinarymusician,AndrewGreene passedawayinMarch.

AndrewGreenewasMusicDirectorofStateOpera SouthAustraliain1986–87,presidingoveroneof themostexcitingperiodsinthecompany’shistory: Lafintagiardiniera, Boojum!, TheItalianGirlin Algiers, Latraviata, MadamaButterfly,andthe triumphantfirstprofessionalAustralianproduction of SweeneyTodd.Hebuiltacompanydedicatedto nurturinganAustralianvoice,givingopportunities anddebutperformancestomanyyoungAustralian singersanddirectors.

AndhelovedtheGilbertandSullivanrepertoire.

WehonourAndrewGreenebydedicating Sullivan inLove and MadSongsofEnglishmen tohis memory.ButtheG&SFESTasawholeisstampedto somedegreewithhismusicalsparkle:versions, style,orchestrations,passion.Heismissed.

Islifeaboon?

Ifso,itmustbefall

ThatDeath,whene’erhecall, Mustcalltoosoon.

—W.S.Gilbert,YeomenoftheGuard ValeMrGreene

InConversation…

InMarch,fourofourAdelaide-basedG&SFESTartistsgatheredfora roundtablediscussiontosharetheirexperiencesoftheGilbertandSullivan repertoireandwhatit’sliketobeworkingtogetheronthisfestival.Readon forinsightsfrombaritoneNicholasCannon,sopranoAlexandraScott, conductorJamesPrattandassistantdirectorMacintyreHowie-Reeves.

G&SFEST–hereandnow

AlexandraScott: It’ssospecialtobepresentingthis festivalinAdelaide.Personally,becauseIloveG&S,but alsobecauseAdelaideisrenownedasanartistichubin Australia–we’rethefestivalstate–andtobedoingthis world-firsteventisveryAdelaide-esque.

NicholasCannon: AndAdelaide’shadastronghistory withthisrepertoire,especiallywiththeGilbert&Sullivan Society,whichmostofushavebeeninvolvedin.

JamesPratt: Theartistsinthisfestivalareacredittothe waySouthAustraliahasdevelopedlocaltalent–there’sa generationthatperformsthismusicwell.Andacrossall theshows,Adelaide’sfinestareholdingtheirown alongsidesomeamazingartistsfromoutsidetheState.

AS: Alotofushavegrownupwiththismusic,withState OperaSouthAustralia.Someofushavebeenworking togetherfor20years.We’recreatingsomethingwe’re passionateaboutwithcolleagueswhoaren’tjust colleagues,butarefriendsandpeoplewegrewupwith.

JP: Andit’saspecialtimewithStuartMaunder’stenure concluding;someofusareworkingontwoorthree differentshowswithStuartduringthefestival.

Onrelevance

AS: GilbertandSullivanisrelevantnowadaysforalotof reasons.Theycreatedstrongrolesforwomen–funny roles,meatyroles.PerforminginG&Soverthepast20 years,I’veplayedaplethoraofdifferent,fun,strong women.Andyoucan’tsaythatofalotofopera.Then, with TrialbyJury,wehavethewholeideaofairingyour dirtylaundryinpublic.It’sbasically MAFS [MarriedatFirst Sight].Becausepeopleinherentlydon’tchange.There’s lies,there’sjealousy,there’slove,andtheseshowshave allthat.

JP: TherearemisogynisticreferencesinG&S–thathasto beacknowledged.Theseoperasareoftheirtime.Butas Alexandrasays,therearealsostrong,rewardingrolesfor womeninshowslike PrincessIda and Iolanthe WhatI

likeaboutourcurrentproductionsisthatdemeaning referencesarecalledoutbytheothercharacters.

AS: Andit’seven,becausetherearethesilly,dodderyold menliketheMajor-General.AndtheboisterousPirate Kingwho’sfranklyabitofanidiot.They’restereotypes, andthey’refunny.Itdoesn’tbotherme–they’remaking funofeveryoneequally.

MacintyreHowie-Reeves: Also,in H.M.S.Pinafore,“A SimpleSailor”isaninterestingpieceoffeministwriting. Thiswomanhastheopportunityforlove,butthere’salso theopportunityforsecurity.Andinthatperiod,forherto chooseloveoversecurityisamassivedecision.Andwhen youtalkaboutrelevance,thejokesholdup.Surethere areelementsofthelanguagethathavedated,butatthe coreofit,thesearefunnyshows.

JP: It’scertainlyeasytocriticiseaspectsofthetext. The Mikado,forexample,ispossiblythemostperformed workofalltheG&Soperas,andyetin2023it’sthemost culturallyinappropriate.Butthen,intheirowntime, GilbertandSullivanhaddifficultygettingpastthe censorshipoftheLordChamberlain.Sothey’reno strangerstocontroversy.

MHR: Butit’salsoaboutthewayyoupresentit.Youcan choosehowtorepresentdifferentcharacters,cultures andclassesinaproduction.Forexample, TheMikado,at itscore,ismakingfunoftheEnglish,whichiswhythe EnglishNationalOperaproductionfromthe1980s presentsitinaseasidetown.Andit’sstilloneofthemost popularversionsoftheshow.Itmeansthinkingabout whattheseshowsaresaying,andbringingthatout,rather thanemphasisingthingsthatareoutdatedornolonger relevant.

AS: Andifyoutakethetextaway,themusic’sstillbeautiful andfuntosing.

DiscoveringG&S

NC: MyfirstmemoryofGilbertandSullivanisanoldvinyl recordmydadhad,the“BestofG&S”.AndwhenIwas aboutfive,myparentstookmetosee H.M.S.Pinafore withMarinaPriorandPaulEddingtonasthecelebrity

SirJoseph.Iwasbitofawildchild,butI justsatthere,absorbed,anditwasa wakeupcallformumanddad:okay,this mightbesomethingthatNick’sinto.

JP: Ihadadoublecassetteof The Mikado,andIjustkeptplayingitona loop.That’smyearliestmemory:notjust listeningtoGilbertandSullivan,but obsessively listeningandlearningallthewordsandwanting more.Iwouldn’tsayIwasawareofwhoGilbert andSullivanwere,orthecontext.ItwasjusttheatreIwas beingtakentobymyparents,andwhichIreallyenjoyed. ThenIbecameobsessedwith H.M.S.Pinafore.Imadea toytheatreandI’dgetthemusicout,andIwouldpractice conducting.AndthiswaswhenIwasveryyoung–Ihave movedonfromtoytheatrestotherealthing,thankfully. ButatthetimeIthought,onedayIwanttobeaconductor, andIwanttoconductthis H.M.S.Pinafore,nowhowdoI getthere?Sothatshapedmycareerandeducation choicesgoingforward.

MHR: IsuddenlygotintoGilbertandSullivanjustbeforeI startedhighschool.IwasobsessedwithaDVDof Pirates ofPenzance,andthenmyschoolwasdoing Pirates,andI startedtobuytherecords.Thenmumrevealedthatmy grandparentswereheavilyinvolvedwiththeGilbert& SullivanSociety–lifemembers.Andmygrandfatherwas inprofessionalproductionsof H.M.S.Pinafore atthe FestivalTheatreinthe70swithpeoplelikeEdward WoodwardandJohnBoltonWood.LaterIconsumedthe productionsof Pinafore and Trial thatStuartdirectedfor OperaAustralia;Iusedtowatchthemoverandoveragain onYouTube.

AS: Mygrandfatherwasasinger,sangalotofGilbertand Sullivan.AndwhenIwassix,OperaAustraliabrought The Gondoliers toAdelaideanditabsolutelychangedmylife andmademewanttobeasinger.Icarriedtheprogram withmeeverywhereforaboutayear.I’vestillgotit.And now,25–30yearslater,I’veactuallyperformedwithsome ofthepeopleIidolisedinthatproduction–Dennis Olsen,DavidHibbard,DavidHobson.Infact,whenI workedwithDavidHobson,Iwaslike,IlovedyouwhenI six.Soembarrassing!AtuniIstarteddoingproductions withtheGilbert&SullivanSociety.LaterIgottoplay

Casildain TheGondoliers withCo-Opera,whichwasa dreamcometrue.It’sbeensuchahugepartofmylife–GilbertandSullivaniswhyI’masingerandaperformer. SowhenIsawthisfestivalwascomingup,IjustknewI hadtobeinit.WhenStuartaskedmetoaudition–and thisisverydorky–ImadeaGilbertandSullivanCV!

WhyweloveG&S

AS: MyloveforG&Scomesbacktothesestrongwomen characters.IfeellikeIcanidentifywiththem.Youlookat Mabelin Pirates,she’sfeisty,andshegetsuptoprotect herfather.OryoulookatCasildain Gondoliers:she doesn’twanttomarrysomeguyherparentshavesetup.

Andthetextissoclever;itremindsmeofShakespeare. Youknow,whenyouhearShakespeare,itsoundsrightin yourears,andtherhythmismesmerising.

NC: Forme,themusichasalwayscreatedaworld,an atmosphere.Ican’tquitearticulatewhatthatisexactly, butassoonastheoverturestartsplaying…there’s somethingwiththemelodiesandyoujustfallintoa fantasyworld.

AS: Youcanhearitandgo,that’sGilbertandSullivan.

JP: Becausewhenthatoverturestarts,yougotoaplace thatsaysthisisnotmeanttobetakenseriously–have fun,enjoy!

TakingG&Sseriously

JP: Therewillalwaysbepeoplewhoaredismissiveof G&S.Anycomposerisgoingtohaveobsessedfansas wellastheircritics.Youonlyhavetolookatthefamous WagnerversusBrahmsbattleofthe19thcentury.Butif youlookcloselyatwho’sperformingandrecordingthis repertoire,you'llseetheworld’sfinestsingers,orchestras andoperacompanies

AS: Igetthattoo.Peoplego,ohG&S…

NC: Maybeforsomeofthecritics,theirexperienceof G&Sisthroughamateurperformances,ratherthanseeing itataprofessionallevel.

JP: Andyet,G&Swascraftedbypeoplewhoknewwhat theywerewriting,andwhotheiraudiencewas.

AS: It’snoteasytosing.It’sverywordy.Youhavetoreally workonyourtechniquetoevengetthemusicout.From atechnicalperspective,it’snot“less”thansomethingepic like TheRing.Atthesametime,GilbertandSullivandon’t takethemselvestooseriously.

JP: Sullivanwasalsograpplingwithpublicpressuretobe a“serious”composer.I’msurehefelthewaswastinghis innovativetalentsontheSavoyOperas,andyethe createdwonderfulandenduringmusic.Lateworkslike TheGondoliers and YeomenoftheGuard demonstrate justhowfreshandinnovativebothGilbertandSullivan couldbe.Whentheygotalong!

Operaforeveryone

AS: Youknowwhat’sdifferentaboutG&S?It’smusicthat peoplecouldtakehomeandplayonthepianoandhave asingalong.You’renotgoingtotake TheRing homeand doabitof DieWalküre aroundthepiano.Buteveryone knowsthesongsfromGilbertandSullivan,youknow,so ifyoupullout“Withcat-liketread”prettymuchanyone canjoinin.

JP: G&Sisreallyapproachable.Andit’sactuallynottoo expensivetoputon,especiallysinceitcameoutof copyright.It’sreallyapproachableforsingerstocuttheir teethandlearnthecraftabit.Andpeoplecanafforda ticketandgoandseeitattheirlocaltheatre.It’snever beenlostonme,howaccessibleitis.Youcangetpeople

togetherandreallyputsomethingon.Youcan’tdothat withotherrepertoire.

MHR: G&Sisalsoagreatintroductiontoopera.Sullivan wassoclever–therearesomanyreferencestogrand opera.Somearejokingreferences,andsomeareloving references,andsomearejust,youknow,references.And therearethingslike“FairMoon”atthebeginningofAct2 of H.M.S.Pinafore,whichisoneofthebestlyricbaritone ariasintheentireoperaticrepertoire.There’srealmusicin G&Sthat’sworthyofthelikesofVerdiandPuccini.

CelebratingG&S

JP: IfeellikeIhaveanobligationtoupholdthefunand silliness.Iencouragethesingersandtheorchestratouse alloftheircraft,butItakehavingfunveryseriously.Once everyone’slearnedtheirpart,ithastocometolife,and withG&Sthatrequiresafunatmospherewithtalented people.Wehaveallthoseelementsforthisfestival.It’s veryexciting!

AS: WithalotofGilbertandSullivanperformers,youcan feelhowpassionatetheyareaboutthetextandwhat they’resinging.Asaperformer,Iwanttheaudienceto seehowmuchIlovewhatI’mdoing,howmuchIlove thisrole.Particularlywith TrialbyJury,thePlaintiffissuch afeistyrole.I’mthinkingaboutmydynamicswiththerest ofthecast,andhowIcanmakethatfunfortheaudience. Our Trial willbeexceptionalbecauseofhowclosethe audienceare–Iamfullyintendingtositonpeopleand stroketheirhair.It’simmersive.

NC: Asperformers,asactors,we’retryingtomakeitfresh andrelevant,somethingyouconnectwith.Soyoumight drawonthehistory,thelegacy,andperformancesthat haveinspiredyou,butIalsothink,okay,thisisthetext, thisisthemusic.HowdoIfeedoffit?Andbecausethese

areensembleproductions,you’rethinkingabouthow youfeedoffthepeoplearoundyouaswell.

MHR: Andwithallthesidethingsgoingonatthesame time,youknow,withtheLongLunchandtheQuizNight andeverythingelse,thisfestivalisacelebrationoftwo artistswhodeservetobecelebrated,andinAustraliaas well.Yes,it’squintessentiallyEnglish,butit’salsovery Australian.There’sareasonG&Sissopopularhere.Sowe wanttocelebrateGilbertandSullivanasgreatartists and havefunwiththeseproductions.

AS: IwouldlikepeopletofeelthejoyIfeelwhenI performthis.We’vehadafewyuckyyearsoflife, somethingwe’veallsharedasacommunity,Ithinkit’s nowtimewesaysomethingreally,reallyjoyful.AndI hopepeoplewalkawaysingingtunes,feelinglike they’vebeenthoroughlyentertained.

Editedhighlightsfromalongerconversation.

Fromleft:JamesPratt,NicholasCannon,MacintyreHowie-ReevesandAlexandraScott

PHOTO:NAOMIJELLICOE

SYNOPSIS

ACTI

Arockysea-shoreonthecoastofCornwall.

AbandofpiratesofferatoasttoFrederic,their apprentice,asheis21yearsoldandhis indenturesarealmostup.Despitedutifully servinghismasters,heloathedbeingapirate andislookingforwardtoamorerespectable career.Theotherpiratesrefusetojoinhimbut doadmittheycan’tmakepiracypay.Frederic tellsthemtheyareslavestotheirtenderhearts, includingtheirrefusaltotakeadvantageof anyonetheybelievetobeanorphan.

Meanwhile,Frederic’sformernursemaid,Ruth, whohasalsojoinedthebandasapiratical maid-of-all-work,wantstoleavewithhimand becomehiswife.Frederic,whohasseenvery fewwomen,takesRuthatherwordwhenshe claimstobebeautifulandagrees.Thatis,until heseestheyoungdaughtersofMajor-General Stanleyarriveforapicnic.Thegirlsareshocked tolearnthatFredericisapirateandallrejecthis advancesexceptMabel.

Hersistersareseizedbythepiratesand threatenedwithmarriage.TheMajor-General arrivesandplaysonthepirates’sympathyby tellingthemheisanorphan.Thepirates releasetheGeneralandhisdaughters.

ACTII

Aruinedchapelbymoonlight.

TheMajor-Generalbroodsamongtheruins, troubledbytheliehehastoldandfearingthe consequences.Hisdaughterscomforthimand Fredericliftshisspiritswithaplantomarch againstthepirateswithasquadofpolice.

ThePirateKingandRutharrivewithnewsofa technicalityconcerningFrederic,andtorecall himtoservice.Frederic’ssenseofdutyisso strong,heagreestorejointhepiratesandbids farewelltoMabel.Andbeinganobedient youngman,hetellsthepiratesthattheMajorGeneralisnot,infact,anorphan.

AttemptingtoattacktheGeneral,thepirates findhimdefendedbypolice.Thepirateswin theskirmishandtheGeneralistakenprisoner. ButwhentheSergeantofPolicecommandsthe piratestosurrenderinthenameoftheQueen, Ruthrevealstheyareallinfactpeersofthe realm–noblemenwhohavegoneastray.The Generalpardonsthemandgrantshis daughters’handsinmarriage.

Duration:2hoursand10minutes,includingone20-minuteinterval

Piratesof Penzance

TheSlaveofDuty.

WordsbyW.S.Gilbert•MusicbyArthurSullivan

THEPIRATEKINGBenMingay

SAMUEL,HISLIEUTENANTNicholasCannon

FREDERIC,ANAPPRENTICEPIRATEJohnLongmuir

MAJOR-GENERALSTANLEYDouglasMcNicol

Hisdaughters:MABELDesireeFrahn

EDITHCherieBoogaart

KATERachelMcCall

ISABELJessicaMills

RUTH,APIRATICALMAID-OF-ALL-WORKAntoinetteHalloran

SERGEANTOFPOLICEJeremyKleeman

DIRECTORStuartMaunder

CONDUCTORAnthonyHunt

SETDESIGNERRichardRoberts

COSTUMEDESIGNERRogerKirk

LIGHTINGDESIGNERTrudyDalgleish

ORIGINALCHOREOGRAPHYElizabethHall-Cooper

REHEARSALCHOREOGRAPHERAnnaTsirigotis

ASSISTANTDIRECTORMacintyreHowie-Reeves

STATEOPERACHORUS

ADELAIDESYMPHONYORCHESTRA

Thu11May

Sat13May

Wed17May

Thu18May

Sat20May

HER MAJESTY’S THEATRE ADELAIDE

SYNOPSIS

ACTI

Onthequarter-deckofH.M.S. Pinafore,at anchoroffPortsmouth.Noon.

The Pinafore’s sailorsarescrubbingthedecks aheadofthearrivalofSirJosephPorter kcb, FirstLordoftheAdmiralty.“LittleButtercup”,a bumboatwoman,comesonboardtoplyher wares.

AbleSeamanRalphRackstrawrevealsheisin lovewithCaptainCorcoran’sdaughter, Josephine.Hisshipmatessympathise;heloves hopelesslyabovehisstation.SirJosephalso seeksJosephine’shandinmarriage,butshe prefersthehandsomeandaccomplished Ralph,muchtoherfather’shorror.TheCaptain isrelievedwhensheassureshimthat,asa dutifuldaughter,shewillneverrevealher feelingstothesailor.

SirJosepharrives,accompaniedbyhismany admiringfemalerelatives,includinghisloyal cousinHebe.Herecountshisimprobably meteoricrisefromofficeboytocabinet minister.Likethecaptain,badlanguageis anathematohim.HeinstructstheCaptainto alwaysfollowanorderwith“ifyouplease” since“aBritishsailorisanyman’sequal”. Encouragedbythesesentimentsofequality, RalphdecidestotellJosephineofhislove.She ismoved,butdisguiseshertruefeelingsand rejectshim.

Ralphsummonshisshipmatesandthreatens suicide,puttingapistoltohishead.Atthis point,Josephineconfessesshedoesinfact lovehim.Theyplantojumpshipandmarry immediately.

ACTII

Onthe Pinafore.Night.

CaptainCorcoransingsofhistroubles, accompanyinghimselfontheguitar.Little Buttercupoffersheraffection,buthetellsher thedifferenceintheirsocialstandingprevents thembeingmorethanfriends.She enigmaticallyrepliesthat“thingsareseldom whattheyseem”.

WhenSirJosephcomplainsthatJosephinehas notyetacceptedhisproposal,theCaptain suggestsshe’sprobablydazzledbyhisexalted rank–hemustconvinceherthat“lovelevelsall ranks”.Josephinearrives,feelinganxiousabout theplannedelopementwithRalph.WhenSir Josephpresentshisargument,shedeclaresshe willhesitatenolonger…

TheCaptain,learningofthelovers’plansfrom DickDeadeye,confrontsthecoupleand,inhis fury,swearsatthem.SirJoseph,shockedatthe badlanguage,orderstheCaptaintohiscabin! Meanwhile,SirJosephrespondstothe revelationthatJosephineandRalphareinlove bysendingtheupstartsailortothebrig.

LittleButtercuparriveswitharevelationofher ownthatwillforeverchangethelivesofthose onboardthe Pinafore.

Duration:1hourand50minutes,includingone20-minuteinterval

H.M.S. Pinafore

Fri12May

Sat13May

Fri19May

Sat20May

HER MAJESTY’S

THEATRE ADELAIDE

WordsbyW.S.Gilbert•MusicbyArthurSullivan

SIRJOSEPHPORTERBenMingay

CAPTAINCORCORANJeremyKleeman

RALPHRACKSTRAW,ABLESEAMANNicholasJones

DICKDEADEYE,ABLESEAMANDouglasMcNicol

BILLBOBSTAY,BOATSWAIN’SMATEAndrewCrispe

BOBBECKET,CARPENTER’SMATEJamieMofatt

JOSEPHINE,THECAPTAIN’SDAUGHTERJessicaDean

HEBE,SIRJOSEPH’SFIRSTCOUSINFionaMcArdle MRSCRIPPS(LITTLEBUTTERCUP)AntoinetteHalloran

DIRECTORStuartMaunder

CONDUCTORJamesPratt

SETDESIGNERRichardRoberts

COSTUMEDESIGNERRogerKirk

LIGHTINGDESIGNERTrudyDalgleish

ORIGINALCHOREOGRAPHYElizabethHall-Cooper

REHEARSALCHOREOGRAPHERAnnaTsirigotis

TheLassThatLovedaSailor. blimey!

ASSISTANTDIRECTORMacintyreHowie-Reeves

STATEOPERACHORUS

ADELAIDESYMPHONYORCHESTRA

SYNOPSIS

ACourtofJustice

Ajuryandthepublichaveassembledtoheara case.Edwin,tiringofhissweetheartAngelina, hasfalleninlovewithanotherwoman;Angelina hassummonedhimtocourtforbreachof promise.

TheUsher,whileinstructingthemembersofthe jurytobefreeofeverykindofbias,ishimself partialtothebeautiful,broken-heartedPlaintiff. WhentheDefendantarrives,he’sgreetedwith premeditatedhostility,whichisn’thelpedwhen hecandidlyadmitsthathebecameboredwith thePlaintiffandsimplyhappenedtofallinlove withanotherwoman.Themembersofthejury recallfickleepisodesfromtheirownyouth,but sincetheyarenowrespectablegentlemen, theyhavenosympathyforhim.

TheLearnedJudgeenterswithgreat ceremony,anddescribeshowhereachedhis position.Boththejuryandthepublicspot noteworthyparallelsbetweenhisstoryandthe caseathand.

ThePlaintiffissummoned.Angelinaentersthe courtroomwithherbridesmaids,makinga captivatingimpressiononall.HerCounsel deliversacompellingspeechaboutEdwin’s betrayal,afterwhichtheDefendantoffersto marrythePlaintifftodayandhisnewlove tomorrow.Objection!

EdwinthentriestodissuadeAngelinafrom wantingtomarryhimatall.Heisasmoker,he says,adrunkardandabully.Healsoarguesthat shewouldnothaveenduredhimevenfora day,andthusthedamagesshouldbesmall.The Judgeproposesatest:getEdwindrunktosee ifhereallywouldbeatAngelina.Objection!

Thesituationhasreachedanimpasse,andthe Judge,becomingimpatientandeagertoget away,issuesaverdictthatallaccept.

TheFriendsofStateOperaisproudtosupportthisproductionof TrialbyJury Aspartofourcommitmenttotheartformofopera,oursupport meanswecanhelpbringthisproductiontotheaudiences ofAdelaideandgiveyoungstarsofthefuture opportunitiestoperformandgrowasartists.

Duration:35minutes

CourtReport

Clockwisefromtopleft:AlexandraScott(ThePlaintiff)andMark Oates(TheDefendant),NicholasCannon(TheLearnedJudge), FionaMcArdle(Counsel),AlexandraScottwithAndrewCrispe (Foreman),MembersoftheChorus,NicholasCannon

Trytakingaphotoincourtandtherearesuretobeobjections.SoweinvitedsketchartistTimothyIde tocapturethepersonalitiesanddramaof TrialbyJury inaseriesofillustrations.

AtSeawithG&S

SYNOPSIS

ACTI

OutsideSirMarmaduke’sMansion.Noon.

ThecurtainrisesonthevillagersofPloverleigh, celebratingthebetrothalofAlexis,sonandheir ofSirMarmardukePointdextre,totheonly maidenofsuitablerankintheneighbourhood: Aline,thedaughterofLadySangazure.

AlexisandAlinesignthemarriagecontract. (Duringtheceremonyitbecomesclearthatthe widowerSirMarmadukeandthewidowed LadySangazureconceallong-heldfeelingsfor eachother.)But,despitegenuinelyloving Aline,Alexisdisputeshisfather’sold-fashioned beliefthatonlymenandwomenofthesame rankshouldmarry.Surelyromanticinclination mustplayapart?Hisownhappiness apparentlyassured,herevealsaschemefor makingthewholevillagehappy.

AlexishashiredJohnWellingtonWells,froma respectableLondonfirmoffamilysorcerers,to createalovepotionthatwillbeadministered tothevillagersviathecommunalteapotduring thebetrothalbanquet.Allwhodrinkit immediatelyfallasleep,andwhenthey awaken,MrWellspromises,eachwillfallmadly inlovewiththefirstpersonheorshesees (shadesof AMidsummerNight’sDream!). Thosewhoarealreadymarriedwillbeimmune tothespell.

ACTII

OutsidetheMansion.Itisnowmidnight

Whenthevillagerswakesixhourslater,chaos eruptswithaseriesofhighlyunsuitable matches.SirMarmadukehas,tohisson’s displeasure,falleninlovewiththeelderlyMrs Partlet.ThefearsomeLadySangazurehasfallen inlovewiththesorcerer,whomustthenelude her.Andit’sevidentthatourherohasn’t thoughtthingsthrough,becauseevenhis fiancée,Aline,fallsforanother(thevillagevicar DrDaly)andrebuffshim.

AlexisdesperatelypleadsforMrWellsto reversethespell.Butitcanonlybebrokenby thesacrificeofeitherAlexisorthesorcererto Ahrimanes.Thesorcerer,havingbeenchosen todiebypopularvote,disappearsintothe earthatthesoundofagong,andorderis restored.Thegeneralrejoicingisamplifiedby thebetrothalofSirMaramadukeandLady Sangazure.

Duration:2hours,includingone20-minuteinterval

BigSing: TheSorcerer

SIRMARMADUKEPOINTDEXTREJeremyTatchell ALEXIS,HISSONJohnLongmuir DRDALY,VICAROFPLOVERLEIGHJoshuaHillary

THENOTARYGregJohn

JOHNWELLINGTONWELLS,ASORCERERAidanHodder

LADYSANGAZURE,OFANCIENTLINEAGECherieBoogaart

ALINE,HERDAUGHTERJessicaDean MRSPARTLET,APEW-OPENERMeranBow CONSTANCE,HERDAUGHTERAlexandraScott

CONDUCTORJamesPratt

THEBIGSINGCHORUS including VOCALIZECHOIR(KerriePolkinghorne,MusicDirector)

FLEURIEUSINGERS(AlexRoose,MusicDirector)

LALALAND(CarolYoung,ChoirDirector)

THESAVOYARDYPLAYERS

Sun21May

HER MAJESTY’S THEATRE ADELAIDE

WordsbyW.S.Gilbert•MusicbyArthurSullivan

MadSongsof Englishmen

Acabaretextravaganzaindulginginthesongsand timesofGilbertandSullivanwithStateOpera’s residentG&Sfanatic.

StuartMaunder

Anne-MareeMcDonald,piano

Theprogramwillbedrawnfromthefollowingmusicalnumbers:

TheJudge’sSong(TrialbyJury)

MyNameisJohnWellingtonWells(TheSorcerer)

TheRuleroftheQueen’sNavee(H.M.S.Pinafore)

IfYou’reAnxiousfortoShine(Patience)

TheNightmareSong(Iolanthe)

TheMuddlePuddlePorter(wordsbyGeorgeGrossmith)

MadDogsandEnglishmen(wordsandmusicbyNöelCoward)

JohnnyattheGaiety(GeorgeGrossmith)

FrenchVerbsGeorge(GeorgeGrossmith)

TitWillow(TheMikado)

YeomenoftheGuard–Medley SavoySuite–G&SMedley

WordsbyW.S.GilbertandmusicbyArthurSullivan unlessotherwiseindicated

ThisperformanceisdedicatedtothememoryofAndrewGreene.

DiscoveranothersidetoArthurSullivaninthisrecitalof heartfeltparloursongs–afascinatinglookintotheheart ofatrueVictoriangentleman–passionate,sentimental, proud…andinlove.

DesireeFrahn,soprano

JeremyTatchell,baritone

AnthonyHunt,piano

Program:

Letmedreamagain(wordsbyBenjaminCharlesStephenson)

Alifethatlivesforyou(LionelH.Lewin)

Ihaveasongtosing(W.S.Gilbert, YeomenoftheGuard)

Orpheuswithhislute(WilliamShakespeare)

Twosongsfrom TheWindow (Alfred,LordTennyson):

7.Themistandtherain

8.Windsareloudandyouaredumb

Sweethearts(W.S.Gilbert)

TheDickyBirdandtheOwl(MargaretASinclair)

TheLostChord(AdelaideProctor)

Noneshallpartus(W.S.Gilbert, Iolanthe)

MusicbyArthurSullivan

ThisperformanceisdedicatedtothememoryofAndrewGreene.

Sun14May

STPETER’S CATHEDRAL NORTH ADELAIDE

Sacred Sullivan

Achoralevensongfeaturingthesacredmusicof ArthurSullivan.

TheChoirofStPeter’sCathedral AnthonyHunt,DirectorofMusic

DavidHeah,Organist

AndrewChatterton,AssistantDirectorofMusic

INTROIT“Ogladsomelight”fromthecantata TheGoldenLegend

PRECES&RESPONSES

DevisedfromthemesfromtheG&Soperettas,byAnthonyHunt

HYMN“I’vefoundafriend”–tune: Constance

PSALM66:1–8ChantcomposedforStGeorge’sChurch,Berlin(1887)

MAGNIFICAT–tune: Ellers

HYMN“OnwardChristianSoldiers”–tune: StGertrude

ANTHEMTeDeumLaudamus–“AThanksgivingforVictory”

HYMN“Throughthenightofdoubtandsorrow”–tune: LuxEoi

MOTET“Calmbeourresttonight”

MusicbyArthurSullivan

Acompleteorderofservicewillbe availableattheCathedral

TheCreativeTeam

StuartMaunder AM fellinlovewithGilbertandSullivanwhenhetrod theboards,aged16,atFarrerMemorialAgriculturalHighSchool, appearingasSirDespardMurgatroydin Ruddigore andJackPoint in YeomenoftheGuard.Withalmostreligiouszeal,hehassince directedproductionsof TrialbyJury,H.M.S.Pinafore,ThePiratesof Penzance,Patience,Iolanthe,TheMikado,YeomenoftheGuard, TheGondoliers and Utopia,Limited intheUnitedKingdom,Los AngelesandalloverAustralia.Hisproductionof PiratesofPenzance fortheD’OylyCarteOperaCompanywasperformedthroughout theUK,attheQueen’sTheatreLondonandattheSavoy.

HismostrecentGilbertandSullivanproductionsinclude The Mikado (StateOperaSouthAustralia), Iolanthe (Queensland Conservatorium,GriffithUniversity)and TheGondoliers and Utopia, Limited (ScottishOperaandD’OylyCarte).Hehasalsodirectedtwo productionsofMelvynMorrow’s ASongtoSingO!,starring (originally)AnthonyWarlowinWollongong,and(later)DennisOlsen inanAustraliantour.

Hehasperformedhisownone-manG&Sshow, MadSongsof Englishmen,atAustraliaHouseLondonaswellasinAustralia, appearingintheAdelaideCabaretFestival,CityRecitalHallAngel Place,StatementCabaret,GlenStreetTheatre,OldMillTheatre Perth,WAAPA,GlassHousePortMacquarieandArtsCentreVictoria. Hehasalsoappearedin TheVeryBestofGilbertandSullivan with theSydneySymphonyOrchestra,andtheTasmanianSymphony Orchestra’s GilbertandSullivanSpectacular inHobart. Stuartalsohasa“dayjob”:ArtisticDirectorofStateOpera.

PiratesofPenzance,H.M.S.Pinafore,TrialbyJury, MadSongsofEnglishmen

AnthonyHunt

CONDUCTOR,PIANO

Conductor,pianistandorganist

AnthonyHuntisHeadofMusic andChorusMasterforState OperaSouthAustralia,where hehasconducted Sweeney Todd, LoveBurns, Piratesof Penzance,andthemusical theatregala BrightLights&Big Dreams,aswellascuratingand performingintheUkariarecital series.Aschorusmasterfor OperaAustralia(2013–2019)he preparedthechorusformore than60productions,aswellas workingasrépétiteurand assistantconductor.

FortheAdelaideSymphony Orchestrahehasconducted Gorecki’s Symphonyof SorrowfulSongs (Afghanistan fundraiser)andPoulenc’s OrganConcerto.Hehasalso conducted Messiah forthe CanberraSymphonyOrchestra andworkedasguestchorus masterfortheMelbourne SymphonyOrchestra.

AnthonyHuntstudiedpiano andorganattheElder Conservatoriumbefore completingtheRoyalAcademy ofMusic’sspecialistopera courseasarépétiteur.Heisan AssociateoftheRoyalAcademy ofMusicandDirectorofMusic atStPeter’sCathedral.

PiratesofPenzance,Sullivanin Love,SacredSullivan

JamesPratt CONDUCTOR,PIANO

JamesPratt’smusicalcareerhas encompassedbothconducting andsinging.Heisagraduate oftheElderConservatorium, SydneyConservatoriumOpera SchoolandtheSymphony AustraliaConductor DevelopmentProgram, winningtheBrianStaceyAward foremergingconductors(2011) andtheToldràConducting Competition(2013). In2014hewasassistant conductorfortheRoyalBallet. Recentconducting appearancesincludeconcerts withthePerthPhilharmonic OrchestraandPerthBaroque Orchestra,andin2023he conductedthepremiereof HowardGoodall’s Easter Passion–Invictus withthe PerthSymphonicChorus, whereheismusicdirector.Asa tenorhehasworkedwith OperaAustralia,StateOpera SouthAustraliaandtouredAsia andAustralasiainthecastof PhantomoftheOpera,aswell asperformingasasoloistand chorister.

AG&Senthusiast,hehas conducted Iolanthe, The Gondoliers, TheSorcerer, Trial byJury and ThePiratesof Penzance,andhasperformed in TheMikado and Pirates for OperaAustralia.

H.M.S.Pinafore,TheSorcerer, TrialbyJury

StuartMaunder DIRECTOR,PERFORMER

SETDESIGNER

RichardRoberts’awardwinningbodyofworkspans theatre,ballet,opera,musical theatreandfilm,bothin Australiaandinternationally.He iscurrentlyHeadofDesignat theVictorianCollegeofthe Arts,andhasheldsenior positionsatWAAPA,Victorian CollegeoftheArtsandthe HongKongAcademyof PerformingArts.

Hisdesignsforopera include Rigoletto, Don Pasquale, TheMagicFlute and DieFledermaus (Opera Australia); Parsifal, Cunning LittleVixen, NixoninChina, The MagicFlute,BaroqueTriple Bill, TheMarriageofFigaro, TheCoronationofPoppea and DonGiovanni (Victorian Opera); Ruddigore (Opera Queensland);and Rigoletto (NewZealandOpera,Seattle Opera,PhiladelphiaOpera).

Hehasalsodesignedforthe AustralianBallet,West AustralianBallet,Queensland Ballet,QueenslandTheatre, MelbourneTheatreCompany, SydneyTheatreCompany, BlackSwan,EnsembleTheatre, TMLEnterprises,andthe MelbourneandSydney festivals.Hisscreenwork includesproductiondesignfor TheBattlers, FiveTimesDizzy and IOwntheRacecourse.

PiratesofPenzance, H.M.S.Pinafore

RogerKirkisaTonyAwardwinningsetandcostume designerworkingintheatre, filmandtelevision.Hehas designedcostumesfor productionssuchasTheBoy FromOz,TheKingandIand KingKongtheMusical,and workedonsetandcostume designforOperaAustralia, includingManonLescaut,Aida, Manon,ALittleNightMusic,My FairLady,TheGypsyPrincess andseveralGilbert&Sullivan comicoperas.

Hedesignedthecostumes forthefilmJesusChrist Superstar,andothercredits includeWhistleDownthe Wind(London),TheKingandI (London),TheBoyfromOz ArenaSpectacular,TheSilver Rose(TheAustralianBallet),Le Corsaire(MunichOpera House),Dust–TheOriginal PopDivaandShout!

HisBroadwaycreditsinclude TheKingandI(TonyAwardfor BestCostumeDesign),Jesus ChristSuperstarand42ndStreet (TonyAwardnomination). RecentcreditsincludeSweeney Todd(VictorianOpera,State OperaSouthAustralia),State Opera’srevivalofVoss,Miracle City(LuckiestProductions),King Kong(Broadway),42ndStreet (London)andBroadwaytoOz: HughJackmanLiveinConcert.

PiratesofPenzance,Trialby Jury,H.M.S.Pinafore

TrudyDalgleish LIGHTINGDESIGNER

TrudyDalgleishisoneof Australia’smostsought-after lightingdesigners,whosework hasbeenrecognisedwitha HelpmannAwardfor White Devil (BestLightingDesign, Theatre),anEntechAward(Best LightingDesigner–Live Events),theJohnTruscott DesignAwardforExcellence, theMusicTheatreTechnical DesignAwardfor Eureka atthe GreenRoomAwards,anda GreenRoomAwardforBest Lightingfor Hairspray. Shewas alsonominatedforaHelpmann Awardfor DeadManWalking andGreenRoomawardsfor Orlando (OperaAustralia), The BoyfromOz (TheProduction Company)and CunningLittle Vixen (VictorianOpera).

HerStateOperaSouth Australiacreditsinclude The TurnoftheScrew, Summerof theSeventeenthDoll and Voss Otherrecentlightingdesigns include TheWorldof WearableArt (Wellington), Mousetrap (CrossroadsLive), TheWomaninBlack (Ensemble Theatre), ALittleNightMusic (VictorianOpera), Macbeth (WAOpera), SaturdayNight Fever (GordonFrost Organisation), IntheHeights (HayesTheatre,SydneyOpera House),CatStephens’ Catinan Attic (NewZealand).

PiratesofPenzance, H.M.S.Pinafore

RogerKirk COSTUMEDESIGNER

RichardRoberts

ElizabethHill-Cooper CHOREOGRAPHER

ElizabethHill-Cooperbegan hercareerasaclassicalballet dancerwiththeWestAustralian Ballet.Aftermovinginto choreographyanddirecting, shediscoveredherloveof opera.Shehassincecreatedor restagedproductionsfor severalstateoperacompanies andOperaAustralia,andshe regularlycollaborateswith StuartMaunderandRogerKirk.

Hercreditsinclude: The GypsyPrincess, TheTalesof Hoffmann, DieFledermaus, MyFairLady, ThePiratesof Penzance, Rusalka, Lakme and Arabella

SincejoiningVictorianOpera in2012,shehasdirected mainstageproductionssuchas PelleasandMelisande and The PearlFishers,andwasthe company’sExecutiveProducer andArtisticAssociatefrom2014 to2019.InMay2019shewas appointedCEOofVictorian Opera.

Originalchoreography:Pirates ofPenzance,H.M.S.Pinafore

AnnaTsirigotis CHOREOGRAPHER

AnnaTsirigotisgraduatedfrom WAAPAwithanArtsdegreein MusicalTheatre,andalsoholds aDiplomainPerformingArts fromDanceWorld301in Melbourne.Shemadeher professionaldebutinNewYork attheageof16,inDein

Perry’s SteelCity atRadioCity MusicHall.Otherprofessional creditsincludetheAustralian andNewZealandtourof My FairLady (OperaAustralia), Irene starringDebbieReynolds (PeachProductions), TheBoy fromOz (HughJackmanArena Tour), PuttingitTogether (RiversideTheatre),and Oklahoma! (IAJInternational). HerrolesincludeCarol in Shakers,Lorrainein BatBoy, Gladysin PalJoey andthe SchoolTeacherintheAustralian premiereofWilliamFinn’s Elegies.TVcreditsinclude Ship toShore andtheChannel7 Telethon.Sheisindemandasa freelancedancerandteacher, andperformsregularlyasa soloist,includingthe100th anniversaryofHisMajesty’s TheatrePerthandtheopening ofPerth’sStateTheatre.Shehas workedasachoreographer throughoutGermanyforthe StageSchoolHamburg,andon productionsof GoldDigger, BloodBrothers, 42ndStreet, and GuysandDolls,aswellas MadamaButterfly forState OperaSouthAustralia.

H.M.S.Pinafore, Piratesof Penzance

Anne-MareeMcDonald PIANO

Anne-MareeMcDonaldbegan hercareerplayingpianoonTV varietyshows.Shethenstudied attheVictorianCollegeofthe ArtsbeforejoiningOpera Australiain1980asayoung principalsoprano.Thereshe sangleadingrolesinoperas rangingfrom TheMarriageof Figaro to BorisGodunov and Voss,aswellas Fiddleronthe Roof, TheMikado and Trialby Jury and,withJoanSutherland andRichardBonynge, The MerryWidow

Shehasalsoperformedin MyFairLady (ElizaDoolittle), GershwintheMusical (Kaye Swift)and TheSevenDeadly Sins,aswellasconcertsin Australia,theUKandChina. Earlierthisyear,sheplayedthe StepmotherinBelvoirSt Theatre’s IntotheWoods

Asaconductorandmusical director,shehasled Shout!The LegendoftheWildOne, Bring ItOn!, Jekyll&Hyde, TellMe OnASunday, FloydCollins, MarioLanza–TheFinal Serenade andtheiconic SydneyMardisGrasconcerts HatsOff! Andherpassionfor teachinghastakenherto WAAPA,BrentStreet,the AustralianInstituteofMusic, NIDAandBeijing.

MacintyreHowie-Reeves ASSISTANTDIRECTOR

MacintyreHowie-Reevesisan Adelaide-basedperformerand earlycareerdirectorwhohas beeninvolvedinproductions throughoutSouthAustraliafor nearlyadecade.Hehascodirected Assassins (HillsMusic Company)and TheMagicFlute (AdelaideHillsChamber Players),andhasperformedin numerousAdelaideFestival productions,includingBrett Dean’s Hamlet, DannyElfman’s MusicfromtheFilmsofTim Burton, Mozart’sRequiem, The GoldenCockerel andVerdi’s Requiem. Hehasalsosungin theStateOperaChorusfor Carmen, Labohème, Die MeistersingervonNürnberg and Boojum!

Hisstagecreditsinclude LieutenantBarri(Passion),the Father(HänselundGretel), the Page(AmahlandtheNight Visitors),MrLindquistin(ALittle NightMusic)andPublio(La clemenzadiTito),aswellas Pish-Tush(TheMikado)andthe Major-General(ThePiratesof Penzance).

PiratesofPenzance, H.M.S.Pinafore,TrialbyJury

MadSongsofEnglishmen

TheCompany

CherieBoogaart

AgraduateoftheElderConservatoriumandtheAustralian OperaStudio,CherieBoogaart hassungmanyroleswithState OperaSouthAustraliaincluding Giovanna(Rigoletto),Siebel (Faust),Wowkle(TheGirlofthe GoldenWest),Sandman (HanselandGretel),Maria (MariadeBuenosAires)and, mostrecently,MrsBonner/Mrs Judd(Voss)andFlora(La traviata).Othercreditsinclude SouthPacific and TheMikado (AdelaideFestivalTheatre), He andShedon’tgotogether (PerthCabaretFestival), Guys andDolls (AdelaideSymphony Orchestra),Cindy(TheBeauty Spot), SongstoMakeYouFeel Sexy (AdelaideCabaret Festival), SweeneyTodd and MariadeBueosAires (Victorian Opera)androlesin Iloveyou, you’reperfect,nowchange and Elegies (SINGular Productions/StateOpera).For othercompaniesshehassung Alisa(LuciadiLammermoor)for BelCantoOpera,andThird Lady(TheMagicFlute), Dorabella(Cosìfantutte) and Orlofsky(DieFledermaus) for Co-Opera.

Edith, PiratesofPenzance; LadySangazure, TheSorcerer

MeranBow

SouthAustraliancontralto MeranBowcompletedadrama educationdegreebefore studyingvoicewithCarolKohler andthenFlorinRadulescu.She joinedtheStateOperaChorus in1992andwasamemberof theYoungArtistProgramin 1997.HerStateOperaroles includeThirdLady(TheMagic Flute), Babet(LaChansonde Fortunio),Pitti-Sing(The Mikado),TheMother(Mavra) and TheWoman(Riderstothe Sea). Shehasalsocovered Grimgerde(DieWalküre), Marcellina(TheMarriageof Figaro),Dorabella (Cosìfan tutte) and MrsGrose(TheTurn oftheScrew).In2015shemade herdebutwithCo-Opera singingAzucena in Iltrovatore, latertouringregionalAustralia asMadameLarinaand Filippevnain EugeneOnegin ShealsosangZita(Gianni Schicchi) in2022forCo-Opera andLaZiaPrincipessa(Suor Angelica)forMopoke Productions.FortheG&S Society,shehassungKate(The PiratesofPenzance), Katisha (TheMikado),FairyQueen (Iolanthe)andLadyBlanche (PrincessIda).Hersoloconcert creditsincludeappearances withtheNorwoodSymphony Orchestra,AdelaideUniversity ChoralSociety,AdelaideYouth Orchestra,Accompanists’Guild, AdelaideHarmonyChoirand AdelaideHillsChamberplayers.

MrsPartlet, TheSorcerer

NicholasCannonisaversatile director,performerandteacher. HisroleswithStateOpera SouthAustraliahaveincluded JohnnyDowd(Summerofthe SeventeenthDoll),Pish-Tush (TheMikado),theLieutenant (MadelineLee),Kromov(The MerryWidow),Papageno(The MagicFlute),QuickLamb (Cloudstreet),JiggerCraigin (Carousel),AnthonyHope (SweeneyTodd)andAmbrogio (TheBarberofSeville).Hehas appearedinoperettarolesfor CoburgLandestheaterin Germany,andinnumerous roleswithCo-Opera,including thetitlerolesin Eugene Onegin,GianniSchicchi and TheMarriageofFigaro. His Australiandirectingcredits include LoveBurns, Christina’s World, DidoandAeneas and LaVidaBreve forStateOpera; AcisandGalatea inthe AdelaideBotanicGardens; PriceCheck (Loaded Productions,Adelaide); ALittle NightMusic (WatchThis, Melbourne); GianniSchicchi and L’Heureespagnole (Lyric OperaofMelbourne); The Gondoliers (PacificOpera, Sydney);fiveproductionsfor Co-Opera,andseveraloperas asArtisticDirectorofMopoke TheatreProductions.

TheLearnedJudge, Trialby Jury;Samuel, Piratesof Penzance

AndrewCrispe

AndrewCrispeisanestablished freelanceperformerandactor, havingperformedprofessionally inandaroundAdelaidefor manyyears.Hisfirstforayinto theworldofmusictheatreand operettawasover20yearsago, andhehasbeenamemberof theStateOperaChorussince 2009.Hehasbeennominated forBestMalePerformanceby theAdelaideCriticsCircleand theAdelaideTheatreGuide, andwontheTASABestMale PerformanceAwardforhis portrayalofEdwardBloomin BigFish.In2015,heco-wrote andperformedin Villain-Ville: AMusicalExplorationofVillainy andEvil forAdelaideFringe. Morerecently,hehas appearedasMrFogginState Opera’s SweeneyTodd,Richard D’OylyCartein Tarantara! Tarantara! withtheGilbert& SullivanSocietyofSA,andas theForemanin Trialby Jury duringthisyear’sAdelaide Fringe.

Boatswain, H.M.S.Pinafore; Foreman, TrialbyJury

NicholasCannon

SopranoJessicaDeanholdsa master’sdegreefromtheRoyal AcademyofMusic.Whileinthe UK,sheperformedextensively asaconcertsoloist,notablyin Mozart’sRequiematStMartinin-the-Fields.Shethenspent tenyearsasasopranowith OperaAustralia,appearing regularlywiththeOAChorus, andperformingBarbarina(The MarriageofFigaro),Papagena (TheMagicFlute)andtouring asZerlina(DonGiovanni).For StateOperaSouthAustraliashe hassungAngela(LoveBurns), Beth(LittleWomen);Yum-Yum (TheMikado),Dew-Fairy (HanselandGretel),Marzelline (Fidelio),forwhichshereceived aHelpmannnomination,and BelleBonner(Voss).Recent concerthighlightsinclude performanceswithAdelaide Baroque,andsoloappearances withtheAdelaideSymphony Orchestrain CarminaBurana, Gorecki’s Symphonyof SorrowfulSongs, Classics Unwrapped,Haydn’s Berenice chefai?, andastheMotherin AChildofourTime (Adelaide Festival).

Josephine, H.M.S.Pinafore; Aline, TheSorcerer

DesireeFrahn

SouthAustraliansoprano

DesireeFrahnisaStateOpera

SouthAustraliaprincipalartist. SheisagraduateoftheElder ConservatoriumofMusicanda formerJamesandDiana RamsayFoundationYoung ArtistwithStateOpera.For StateOperashehasappeared asValencienne(TheMerry Widow),Leila(ThePearl Fishers),Lauretta(Gianni Schicchi),RosePickles (Cloudstreet!),Pamina(The MagicFlute),Rosalinde(Die Fledermaus),Bastienne(Bastien undBastienne)andKate Pinkerton(MadamaButterfly), aswellasappearingasasoloist forregionaltours,concertsand broadcasts.Morerecently,she sangthetitlerolein Cunning LittleVixen,JulieJordan (Carousel) and Johanna (SweeneyTodd).In2018she sangStephanieintheAustralian premiereof ToHellandBack (forMelbourne’sGertrude Opera),andshehassung leadingrolesthroughoutSouth AustraliawithCo-Opera,the Gilbert&SullivanSocietyofSA andtheTherryDramatic Society.Shealsoperforms regularlyasasoloistwiththe AdelaideSymphonyOrchestra.

Mabel, PiratesofPenzance; SullivaninLove

SopranoAntoinetteHalloran performsregularlywithallthe majorAustralasianopera companiesandorchestras.In 2021–2022shesangMrsLovett (SweeneyTodd)andOlive (SummeroftheSeventeenth Doll)forStateOperaSouth Australia,Jenny(Mahagonny) andBrünnhilde(DieWalküre) forMelbourneOpera,and principalrolesin AChristmas Carol (VictorianOpera)and Lorelei (OperaQueenslandand VictorianOpera).Herrecent appearancesincludeLady Macbeth(Macbeth)andTosca forWestAustralianOpera,and HannaGlawari(TheMerry Widow)andTheFox(Cunning LittleVixen)forStateOpera.For OperaAustralia,shehas performedthetitlerolesin MadamaButterfly and Rusalka,Mimìin Labohème, andStellain AStreetcarNamed Desire. Otherhighlightsinclude HannaGlawariforOpera Queensland;Mimì,Cio-Cio-San andMrsLovettforNew ZealandOpera;andFiordiligi (Cosìfantutte),Adina(L’elisir d’amore),TheFox,andMrs LovettforVictorianOpera.

Ruth, PiratesofPenzance; MrsCripps, H.M.S.Pinafore

JoshuaHillary

SouthAustralianbaritone

JoshuaHillarybeganhis professionalcareeratState OperaSouthAustraliaasa memberofthechildren’s chorus,goingontoperformin numerousproductionsbefore relocatingtoMelbournein 2005.There,heappeared regularlywithOperaAustralia formorethanadecade,aswell ascompletingaMusic

Performancedegreeatthe VictorianCollegeoftheArtsin 2009.Rolesinhisrepertoire includePish-Tush(TheMikado), Papageno(TheMagicFlute), Polyphemus(Acisand Galatea),Escamillo(Carmen), Lancelot(Camelot),Samuel (ThePiratesofPenzance)and Quince(AMidsummerNight’s Dream).Hehasalsoappeared asasoloistwiththeMelbourne SymphonyOrchestra,Orchestra Victoria,MelbourneYouth OrchestraandtheAdelaideArt Orchestra.

Usher, DrDaly,

JessicaDean

AntoinetteHalloran

TheCompany

AidanHodder

BaritoneAidanHodderisa versatileperformer,composer andwriter,andagraduateof QueenslandConservatorium GriffithUniversitywitha BachelorofMusicdegreein PerformanceandaGraduate CertificateinMusicStudies.He isfrequentlyinvolvedwiththe Conservatorium’sopera projects,appearingineach year’smainstagestudentopera aswellasintheannualVal MachinOperaScenes.His numerousappearancesin comicandspeakingrolesthere includeacriticallyacclaimed LordChancellorinthe2022 productionof Iolanthe.In2019 and2021,heparticipatedinthe LisaGasteenNationalOpera Program,receivingmusicaland professionalcoachingfromLisa Gasteen,BradleyDaleyand NancyUnderhill.Heisastrong advocateforchildren’s educationandinvolvement withtheperformingarts,and worksasapresenterandscript writerfortheeducational entertainmentcompanyDino Encounters,providing educationalexperiencesfor childrenacrosssouth-east Queensland.

JohnWellingtonWells, TheSorcerer

RosieHosking

RosieHosking’scareerspans over25yearsandhasseenher performonthemusicaltheatre, operatic,cabaretandcorporate stages,bothnationallyand overseas.HerrolesforState OperaSouthAustraliainclude PrinceOrlofskyin Die Fledermaus,SecondLadyin TheMagicFlute,andfeatured rolesin LoveBurns.More recentlysheappearedasa memberoftheensembleof SweeneyTodd, understudying MrsLovett.Shehasbeena memberoftheStateOpera Chorussince2006.Otherstage appearancesincludeDianain NexttoNormal (SixFoot Something&TheFactory)for whichshewona2012Adelaide TheatreGuideAward;Miriamin TheFront (AdelaideCabaret Festival),Lilyin Mother,Wife andtheComplicatedLife (PopjamProductions),Dinahin SouthPacific (Seabiscuit Productions),andinthechorus of TheGoldenCockerel and Verdi’sRequiematthe AdelaideFestival.

Here'saHow-De-Do

GregJohnhasperformed regularlywiththeStateOpera Chorussince1992,also appearingwiththecompanyas DrSpinelloccioin Gianni Schicchi andastheNotaryin TrialbyJury intheAdelaide Fringe FortheAdelaide Festivalhehasperformedin Saul, Hamlet, Requiem and The GoldenCockerel, whilehisroles inamateurmusicalshave included Tevye(Fiddleronthe Roof),JudgeTurpin(Sweeney Todd),CounselandUsher(Trial byJury),Pooh-Bah(The Mikado),Hines(ThePajama Game),Mordred(Camelot)and Snake/Balladeer/Narrator(The AppleTree).AsPerformingArts CoordinatoratTatachilla LutheranCollege(1995–2015), hebroughtpeopleofallages andabilitiestogetherto presentmusicaltheatreand choralperformances.For schoolandcommunityprojects, hehasactedvariouslyasa singer,actor,musicaldirector, stagedirector,production manager,choralconductor, accompanistandorganist.Heis currentlyArtisticDirectorofBig SingMcLarenVale.

NicholasJoneswonaGreen RoomAwardandwas nominatedforaHelpmann AwardforhisportrayalofDavid in DieMeistersingervon Nürnberg forOperaAustralia. OtherappearancesforOAhave includedprincipalrolesin Carmen, IlturcoinItalia, The Nose, WestSideStory and Two Weddings,OneBride; Michael Driscollinthepremiereof Whiteley, andTaminoand Almavivaintouringproductions of TheMagicFlute and The BarberofSeville.Roleswith StateOperahaveincludedFish Lamb(Cloudstreet),Tom (Christina’sWorld) andHarry (Voss).HesangMaleChorusin VictorianOpera’s TheRapeof Lucretia andwasanoriginal castmemberofDeborah CheethamFraillon’sIndigenous opera PecanSummer.Most recently,hesangTsarevich Gvidonin TheGoldenCockerel (AdelaideFestival),Jaquino (Fidelio) withtheSydney SymphonyOrchestra,and AlmavivaforOperaAustralia. Heisapastrecipientofthe DameHeatherBeggMemorial Award.

RalphRackstraw, H.M.S.Pinafore

GregJohn

TheSorcerer

NicholasJones

JeremyKleeman

JeremyKleemanisagraduate oftheRoyalCollegeofMusic anda2023SamlingArtist. BasedinLondon,hisupcoming Australianengagements includeGuglielmo(Cosìfan tutte)forOperaQueensland, andBach’s StJohnPassion with MelbourneBachChoir. Operaticappearanceshave includedthetitlerolein The MarriageofFigaro (Opera Queensland,WestAustralian OperaandOperaAustralia’s nationaltour); Voyagetothe Moon (MusicaViva/Victorian Opera);TobyRavenin Cloudstreet (StateOperaSouth Australia); OscarandLucinda and TheRapeofLucretia (SydneyChamberOpera); CunningLittleVixen, Guillaume Tell, SweeneyTodd and Intothe Woods (VictorianOpera); L’incoronazionediPoppea (PinchgutOpera);and Faramondo (BrisbaneBaroque Festival).Performancesin Europehaveincludedthe Traveller(CurlewRiver)in Moscow, Bachcantataswiththe LondonHandelPlayers,Elgar’s Apostles (LondonPhilharmonic Orchestra)andarecitalatthe TromsøNorthernLights Festival.

SergeantofPolice, Piratesof Penzance;CaptainCorcoran, H.M.S.Pinafore

JohnLongmuir

Edinburgh-bornJohnLongmuir studiedattheAustralianOpera Studio.Aftermakinghis professionaldebutasIsmaele in Nabucco inTokyo,hejoined OperaAustralia.Hehassungall themajor leggero tenor repertoireforOA,including Tamino(TheMagicFlute),Don Ottavio(DonGiovanni),Narciso (IlturcoinItalia)Ernesto(Don Pasquale),Camille(TheMerry Widow),Almaviva(TheBarber ofSeville),Nemorino(TheElixir ofLove),Fenton(Falstaff) and Beppe(Pagliacci).Recent performancesforOAhave includedJuan(DonQuichotte), Arturo(LuciadiLammermoor) andGastone(Latraviata).He hasalsoappearedforNational OperaasOronte(Alcina),West AustralianOperaasAlmaviva, andforbothWAOperaand StateOperaSouthAustraliaas Camille.HismostrecentState Operaappearancewasas Almaviva.Concerthighlights include CarminaBurana (MelbourneSymphony Orchestra,NewNational TheatreTokyo); Elijah (Sydney PhilharmoniaChoirs);Bach’s MassinBminor(Queensland SymphonyOrchestra);Rossini’s StabatMater(WestAustralian SymphonyOrchestra),Handel’s IsraelinEgypt andFauré’s NaissancedeVénus (Berlin), andGrimoaldoin Rodelinda underRichardBonynge.

Frederic, PiratesofPenzance; Alexis, TheSorcerer

FionaMcArdle

SouthAustraliansopranoFiona McArdlemadeherprofessional debutwithStateOperaSouth Australiain2017singingLa CiescainPuccini’s Gianni Schicchi.Sincethenshehas appearedforStateOperaas Magdalene(DerMeistersinger vonNürnberg),Second Saleswoman(LaVidaBreve) andMissJessel(TheTurnofthe Screw).AgraduateoftheNew EnglandConservatory,Boston, herhighlightsthereincluded rolesin CunningLittleVixen, Gilgamesh and DoctorMiracle DuringhertimeintheUSA, sheappearedasMistress Zimmerlein(TheSilentWoman) forPittsburghFestivalOpera andinSymphonyNew Hampshire’s TheEssentialRing InLondon,sheappearedas Mimì(Labohème)with HampsteadGardenOpera.On tourwithCo-Opera,shehas sungLaZiaPrincipessa(Suor Angelica),Suzuki(Madama Butterfly)andDorabella(Così fantutte),andsherecently appearedintheStateOpera recitalSongsforaMuse with pianistKonstantinShamray.

CousinHebe, H.M.S.Pinafore; Counsel, TrialbyJury

RachelMcCall

RachelMcCall,anElder Conservatoriumgraduate,isa musictheatre,opera,cabaret andearlymusicperformer.She hasperformedasasoloistwith StateOperaSouthAustralia, Co-Opera,TheLittleMusic Room,AdelaideBaroque, PopjamProductions,Adelaide VocalProjectandAdelaideArt Orchestra.ForStateOpera,she hasappearedasGherardina (GianniSchicchi),ThirdSprite (TheMagicFlute)andRose Portion/Mercy(Voss),andin StateOperaYoungArtistStudio productionsof TheBreastsof Tiresias, HanselandGretel, L’Enfantetlessortilèges and SundayintheParkwith George.Otherhighlightshave included MariadeBuenos Aires andBarrieKosky’s Saul, bothfortheAdelaideFestival; Ainadamar,directedby GraemeMurphyforthe BrisbaneFestival;Julie(The Portrait)forCo-Opera;and Polly(TheThreepennyOpera) forAdelaideUniversity.Sheis alsoco-founderofcabaretduo TheVoxTrustwithTamaraLinke.

Kate, PiratesofPenzance

TheCompany

DouglasMcNicol

DouglasMcNicol’soperatic careerspansmorethan40years, sinceappearingwithState Operain Labohème in1981. Anaward-winningdramatic baritone,hehasworkedwithall themajoroperacompaniesand festivals,andmostorchestrasin Australasia,aswellasappearing inconcertsinItalyandtheUK, andhehasbeenhonoured withastarontheAdelaide FestivalCentreWalkofFame. HisStateOperarolesinclude GiorgioGermont(Latraviata), Iago(Otello),theStarkeeper andDrSeldon(Carousel), JudgeTurpin(SweeneyTodd), andBartolo(TheBarberof Seville).Othernotableroles includeFord(Falstaff),Jack Rance(LafanciulladelWest), Amonasro(Aida),Scarpia (Tosca),titlerolesin Gianni Schicchi and Elijah,Jokanaan (Salome),Tereus(Loveofthe Nightingale),OwenHart(Dead ManWalking),Leporelloand theDonin DonGiovanni,and Papageno(MagicFlute) Last yearhesavedWAOpera’s Tosca,jumpinginasScarpia withoutnotice.Hismusic theatreworkincludesDrFalke (Die Fledermaus), Jupiter (Orpheus,) Pooh-Bah(Mikado), and CounselandtheUsher (TrialbyJury).

Major-General, Piratesof Penzance;DickDeadeye, H.M.S.Pinafore

OriginallyfromAdelaide, JessicaMillsgraduatedfromthe QueenslandConservatoriumin 2016,andmadeheradult professionaldebutthefollowing yearontourwithThe7Sopranos. ForStateOperaSouthAustralia, shehasunderstudiedand performedtheroleofAngela in LoveBurns,alsocoveringall ofthefemalerolesinthe production’s2022tour,andhas appearedasoloistin Bright Lights&BigDreams and EmergingArtistsinConcert. She hasalsoperformedinthe chorusfor Labohème, Voss, and Latraviata.Otherstage creditsincludeNellain Gianni Schicchi (Co-Opera),Verdi’s Requiem (AdelaideFestival), GoodWitchoftheNorth(study cover)in IlMagodiOz for VictorianOperaand Tweedledeein Alice’s AdventuresinWonderland for AustralianContemporaryOpera Co.Sheisacurrentrecipientof aFriendsofStateOperaSouth AustraliaEmergingArtistGrant.

Isabel, PiratesofPenzance

BenMingay

BenMingaywasaNewcastle constructionworkerwhofell intoclassicalmusicwhenhis matesdaredhimtoauditionfor theConservatoriumofMusic. Hesubsequentlywona scholarshipandwentontotrain inoperaforseveralyears–changingthetrajectoryofhis lifeforever.Well-knownto screenviewersworldwide (Frayed, HacksawRidge, HouseofBond, Amazing Grace, HomeandAway, PackedtotheRafters and Wonderland),hisstagecredits includeBillyBigelowin Carousel (StateOperaSouth Australia)andthetitlerolein SweeneyTodd (WAOpera, StateOpera),aswellasShrek (ShrekTheMusical),Evan(Vivid White),JudFry(Oklahoma!), Achilles(Paris–ARock Odyssey)andconcertswiththe hitsinginggroupSwingon This.Otherstagecreditsinclude Thomas(RollingThunder Vietnam),thetitlerolein The PhantomoftheOpera,Zack Mayo(AnOfficeranda Gentleman),TommyDeVito (JerseyBoys)andBillyKostecki (DirtyDancing).

PirateKing, Piratesof Penzance;SirJosephPorter, H.M.S.Pinafore

JamieMofatt

JamieMoffattstudiedatthe ElderConservatoriumfrom 2007to2009.Forthefollowing eightyearstheyperformedin Co-Opera’stouringprogram, appearinginmajornational toursaswellasinternational toursof AcisandGalatea, The MarriageofFigaro and Die Fledermaus.In2013,Jamie MoffattjoinedTheAustralian Voices,withhighlights includingtheoff-Broadway premiereof Boombox,a nationaltourof MOON andthe premiereofNatalieWeir’s dancework EverydayRequiem, aswellasappearingasoneof sixsingersheadliningthe festivalLaVoixduSudinNew Caledonia.Theyhavebeena memberoftheStateOpera Chorussince2010,andin2018 madetheirprincipaldebutas theHatterin Boojum! More recentlytheyappearedasthe Messengerin Latraviata. They havealsoperformedinthe AdelaideFestivalchorussince 2020,andin2017theyfounded ElephantintheRoom

Productionstoproduceartwith asocialconscience.

BobBeckett, H.M.S.Pinafore

JessicaMills

MarkOates

AlongstandingStateOpera SouthAustraliaartist,Mark Oateswasrecentlyrecognised forhisbodyofworkbythe AdelaideCritic’sCircle.

HighlightsincludeIanDuncan/ DonDunstanin Watershed:The DeathofDrDuncan forthe 2022AdelaideFestival,with previousfestivalappearances including Legrandmacabre, RequiemandBernstein’s Mass. RecentperformanceswithState OperaSouthAustraliainclude Gastone(Latraviata), Bright Lights&BigDreams, LtTom Radclyffe(Voss),theBeadle (SweeneyTodd) andJack(Love Burns).Hehasalsoappeared forthecompanyasNjegus(The MerryWidow),JohnStyx (OrpheusintheUnderworld), Arjuna(Satyagraha),TheCantor (MariadeBuenosAires), Caterpillar(Boojum!),Freddy Norton(IntheDomeRoom(at 2o’clock)),Joe(TheStation), andtheGuideandLillasPastia (Carmen).Othercreditsinclude theCo-Opera,Brisbane Festival,SINGularProductions, Ding!Productions,SixFoot SomethingProductions,Aerial ArtistsAustraliaandMOatesArt Productions.

TheDefendant, TrialbyJury

RodSchultz

RodSchultzisanexperienced performingartistwitha backgroundinpredominantly comicandcharacterrolesin musicalsandopera.Hismusic theatrerolesincludeLawrence Jameson(DirtyRotten Scoundrels),Jeff([titleof show]),Fagin(Oliver!),TheMan intheSaloon(Bluesinthe Night),Paul(AChorusLine),The Baker(IntotheWoods)and SweeneyTodd.Otherstage creditsincludeFirstSailor(Dido andAeneas),DrMadden/Dr Fine(NexttoNormal), CarlMagnus(ALittleNightMusic), Collins (Rent)andThenardier (LesMisérables).Hehastoured withCo-Operainrolessuchas Masetto(DonGiovanni),Frank (DieFledermaus),Fiorello(The BarberofSeville),Monostatos/ FirstArmedMan(TheMagic Flute),DonAlfonso(Cosìfan tutte),Ko-Ko(TheMikado)and Goro(MadamaButterfly),and hasappearedforStateOpera

AlexandraScottgraduated fromtheElderConservatorium in2005.Sincethen,shehas beenamemberoftheState OperaChorus,performingin morethan30mainstage productions,andshemadeher StateOperaprincipaldebut singingthePlaintiffinthe recentAdelaideFringe performancesof TrialbyJury ForCo-Operashehassungthe rolesofMusetta(Labohème), Papagena(TheMagicFlute), Casilda(TheGondoliers)and Kate(ThePiratesofPenzance). Shehasalsoperformedinthe AdelaideFestivalproductions of Legrandmacabre, Saul, Hamlet and TheGolden Cockerel.Otherrolesinclude Cinderella(IntotheWoods), RoseMaybud(Ruddigore), Josephine(H.M.S.Pinafore), Mabel(ThePiratesofPenzance), JulieJordan(Carousel),Tracy Lord(HighSociety),Rose(The SecretGarden)andPetra(A

JeremyTatchell

NewZealand-bornbaritone JeremyTatchellstudiedviola andvoiceattheANUSchoolof MusicbeforejoiningCo-Opera in2003,touringinmajorroles throughoutAustralia,Asiaand Europe.Sincemovingto Adelaidein2011,hisrolesfor StateOperaSouthAustralia haveincludedRhadamanthus (OrpheusintheUnderworld), FirstNazarene(Salome), Surgeon(Laforzadeldestino), ImperialCommissionerand Yamadori(MadamaButterfly), BaronDouphol(Latraviata), ParsiRustomji(Satyagraha),the titlerolein Bluebeard’sCastle, Colas(BastienundBastienne), Speaker(TheMagicFlute), Masetto(DonGiovanni),Alfio (Cavalleriarusticana),Valentin (Faust),Angelotti(Tosca),Silvio (Pagliacci),Manuel(LaVida Breve),Marco(GianniSchicchi), ViscountCascada(TheMerry Widow),KonradNachtigall(The Mastersingers),Fiorello/Officer TheBarberofSeville),the Reporter(Voss),Schaunard(La bohème),and,mostrecently Marquisd’Obigny(Latraviata). FortheAdelaideFestivalhehas sunginthechorusfor Saul and BrettDean’s Hamlet andthe roleofStarvelingin A MidsummerNight’sDream.

SirMarmaduke, TheSorcerer; SullivaninLove

AlexandraScott

StateOperaChorus

SOPRANOS

MEZZO-SOPRANOS

AlexandraBollard MillicentBrake

EleanorBrasted

DeborahCaddy

JolantaKudra

KristenHardy

AlisonHardy

LisaCannizzaro

DanielleRuggiero-Prior LucyStoddart

CatherineCampbell

SusanFerguson

DeborahJohnson EmmaKavanagh

VanessaShirley

ElizabethMcCall

TamaraLinke

TENORS

BASSES

BrockRoberts

JamesNicholson

CallumMcGing

ReeceKeane

MichaelDenholm JiachengDing

AdamGoodburn

AndrewTurner

KimWorley

KitTonkin

ChristianEvans

DanielGoodburn

MacintyreHowie-Reeves

RodneyKirk

AlexRoose TimWilson

AdelaideSymphonyOrchestra

FORH.M.S.PINAFORE& PIRATESOFPENZANCE

VIOLINS

H.M.S.PINAFOREPRINCIPALS

CameronHill**

ActingConcertmaster

LiamOborne** Acting

AssociateConcertmaster

EmmaPerkins*

ActingPrincipal1st

AlisonHeike**

Principal2ndViolin

MinasBerberyan° Acting AssociatePrincipal2nd

PIRATESOFPENZANCEPRINCIPALS

HelenAyres**

ActingConcertmaster

JuliaBrittain** Acting AssociateConcertmaster

AmbraNesa*

ActingPrincipal1st

LachlanBramble**

ActingPrincipal2nd

AlexanderPermezel° Acting AssociatePrincipal2nd

ErnaBerberyan

HilaryBruer

ElizabethCollins

JaneCollins

BelindaGehlert

DanielleJaquillard

ZsuzsaLeon

ShirinLim

AlexisMilton

MichaelMilton

ParisNetting

JulieNewman

KemeriSpurr

VIOLAS

JustinJulian** (Pinafore)

MichaelRobertson** ActingPrincipal(Pirates)

RosiMcGowran°

ActingAssociatePrincipal (Pinafore)

AnnaHansen° ActingAssociatePrincipal (Pirates)

LesleyCockram

NatalieMaegraith

CecilySatchell

CELLOS

SharonGrigoryan** ActingPrincipal

DavidSharp° ActingAssociatePrincipal (Pinafore)

CameronWaters°

ActingAssociatePrincipal (Pirates)

ChristopherHandley

SherrilynHandley

AndrewLeask

GemmaPhilips

DOUBLEBASSES

DavidSchilling** (Pirates)

BelindaKendall-Smith° ActingAssociatePrincipal (Pirates)

JonathonCoco** ActingPrincipal(Pinafore)

HarleyGray° Acting AssociatePrincipal (Pinafore)

JackyChang

FLUTES

KimFalconer** Guest

LisaGill

PICCOLO

JuliaGrenfell*

OBOES

JoshuaOates**

RenaeStavely°

CLARINETS

DeanNewcomb** (Pirates)

DarrenSkelton** Acting Principal(Pinafore)

BaileyCoates

BASSOONS

MarkGaydon** (Pirates)

JackieNewcomb* (Pinafore)

TheSavoyardyPlayers

FORTHESORCERER

FIRSTVIOLINS

MinasBerberyan

Concertmaster

AdinaLopez*

SECONDVIOLINS

ErnaBerberyan

SamanthaLi*

VIOLAS

StephenKing

OliverBrown*

CELLOS

ThomasMarlin

KeirNairn*

DOUBLEBASS

LouisCann

FLUTE

LindaPirie

OBOE

RenaeStavely

CLARINET

StephanieWake-Dyster

BASSOON

LeahStephenson

HORN

ThaliaHuston

TRUMPET

TimothyFrahn

TROMBONE

BJO’Donovan

PERCUSSION

RyanGrunwald

HORNS

AdrianUren** (Pirates)

SarahBarrett° (Pinafore)

EmmaGregan

TimothySkelly

TRUMPETS

DaveKhafagi**

GregoryFrick

NicholasBauer

TROMBONES

ColinPrichard**

IanDenbigh

TIMPANI

SamiButler°

PERCUSSION

StevenPeterka**

SamiButler°

** SectionPrincipal

°AssociatePrincipal

* PrincipalPlayer

*TheSavoyardyPlayersare joinedbymusicstudents fromacrossAdelaideaspart ofStateOpera’seducation anddevelopmentprogram.

BehindtheScenes

AdelaideFestivalCentre ProductionTeam

FLYTECHNICIANS

AdrianPeskett,BrentonWatson, SamuelChamberlain

MECHANISTSJohnGill,Brenton

Watson,IanStrawhan,Dianna Lambert,NicholasMills

FLOORELECTRICS

KateSkinner,DavidBailiht

LIGHTINGOPERATOR

RickWorringham

FOLLOWSPOTOPERATORS

HannahAylett,KatKleeman

SOUNDSYSTEMTECHNICIAN

JenniferNguyen

StateOperaSouthAustralia ProductionTeam

STAGEMANAGER JessNash

DEPUTYSTAGEMANAGER

EmilyBarraclough

ASSISTANTSTAGEMANAGERS

CharlotteWelsden,SerenaCann

SOUNDDESIGNER JamieMensforth

AUDIOENGINEER (FOH)

CambellLawrence

AUDIOONSTAGE&SERVICES

MosaicAudioVisualPtyLtd

CREWINGShowSupport

PROPS&SCENICART AntoDalSanto

SCENICARTDebraMorley

STAGINGSUPPLIER

GlobalDance&Stage(SA)

HEADOFWARDROBE

TraceyRichardson

WARDROBE DeniseStrawhan, AiTanaka,DamienPignotti

DRESSERS SueNicola,Tammy Wheeler,DamienPignotti, DavidAdams

HEADOFWIGS&MAKEUP JanaDeBiasi

WIGS&MAKEUP BeverleyFreeman, DinaGiaccio,NatashaStone

RÉPÉTITEURS MichaelIerace, StephenvanderHoek, ASSISTANTCHORUSMASTER KimWorley

StateOperaSouthAustralia

BoardofManagement

MasterElizabethOlsson Chair

ImeldaAlexopoulos

DrBeataByok

JaneDoyle oam

PeterGoldsworthy

DrThomasMillhouse

PollyTembel

PhilippaWilliams

ArtisticAmbassador

MarilynRichardson,Hon.DMusQld

CulturalAmbassador

DrChristineRothauser

Staf

EXECUTIVEDIRECTOR MarkTaylor

ARTISTICDIRECTOR StuartMaunder AM

HEADOFMUSIC AnthonyHunt

PRODUCTIONMANAGER BenFlett

ASSOCIATEPRODUCER MoniqueHapgood

DIRECTOROFMARKETING LauraDanesin

MARKETING&CRMCOORDINATOR HannahNeophytou

CONTENTCOORDINATOR CarlaMattiazzo

DIRECTOROFDEVELOPMENT AshlynnHannam

BUSINESSDEVELOPMENT&TICKETINGCOORDINATOR RichelleWeiher

DEVELOPMENT&EVENTSCOORDINATOR EmanuelAuciello

CHIEFFINANCIALOFFICER NicoleMathee

ACCOUNTANT SarahHart

BUSINESSSUPPORTOFFICER ElisabetCada

CONTRACTSADMINISTRATOR LiLiFisher

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