1989, The Pirates of Penzance

By May all was ready for the launch into The Pirates of Penzance, and the now traditional Introductory Evening was held, presenting excerpts linked by a narrative. The auditions had the unfortunate effect of decimating our tenor line as all of our tenor chorus from the previous two years (both of them) got lead roles. Allan Luke (Samuel) came to Diamond Valley Singers as an inexperienced tenor and his lovely voice gained him understudies in Mikado and Ruddigore and solos in the cantatas. With Allan's sense of humour rehearsals were rarely dull!

Jo Bourke (Major-General Stanley) had experience with a number of choral and theatre groups including Eltham Little Theatre and Melbourne Youth Choir. Another to score a major role was Judith O'Shea (Ruth). One of our most enthusiastic members, Judith's attention to detail and her willingness to involve herself in a wide variety of activities has been of great benefit to the group. It has been interesting to watch her development as performer and vocalist.

Most other roles went to old(??) hands - Mavis Ford (Mabel), Jenni Williams (Edith), Merrill Hogan (Kate), John Tacey (Frederick), Rod Gorfine and Neil Tupper (Pirate King) and Chris Livingstone (Sergeant).

At about this time we lost our venue, as the Health Department had been out to Eltham College and decreed the theatre unsuitable for commercial ventures, so they could only use it for their own productions. Those who had endured concrete-floored "dressing rooms" and long journeys to toilets were not surprised! However, an alternative now had to be found. Warrandyte High School was the best option, particularly as Chis White taught there, had been instrumental in getting the theatre built, and was able to offer attractive rates.

With a growing contingent of members willing (?) to put themselves through the torture of the Bendigo Competitions, a "dry run" concert was held in early June. Concerts were also organised in Diamond Creek and Euroa in July to help raise money for Pirates.

An innovation this year was the Master Class at Diamond Creek by Ella Banner, a popular Melbourne singing teacher. Ella's inimitable sense of humour eased the pain for the performers of having their performances dissected publicly by her. Ella herself seemed to have an enjoyable time.

Meanwhile rehearsals were in full swing, with Graham spending a lot of time developing characters. One interesting feature was the difference in interpretation of the role of the Pirate King by Rod and Neil, both valid and appropriate to their personalities and build. The problem of Gilbert's chauvinist attitude to women was solved by having "wimpy" pirates who were scared of the General's daughters.

By mid-August Ray Stewart was working on the sets, and later began painting an impressive backdrop. At one rehearsal at Warrandyte an enthusiastic team of helpers made paper-mache rocks. Choreographer Rhonda was working the cast hard - difficult for members with two left feet.

In the new venue the cast greatly appreciated the availability of dressing rooms with mirrors, toilets and pegs for costumes. There was also a separate room where cast and orchestra members could get together and have a "cuppa" and relax. Foyer, front of house and parking facilities were a big improvement on Eltham, as were the larger stage and orchestra pit. However, the pit panels were just as heavy and the absence of a proscenium arch on stage meant that sets had to be larger. In addition the lighting was not as extensive as at Eltham. Generally though, it was felt that the move to Warrandyte had been most beneficial.

Show Program

The Charity Performance, with an audience of 50, was a success, although perhaps lacking a little in polish. The video taken by Keith Billing produced valuable feedback as to what still needed doing before the official season opened.

Opening night brought an encouraging audience of about 160, who seemed to enjoy the show very much, in spite of a few minor slips. Innovations like Frederic chasing Mabel round stage in a bathing booth during Poor Wandering One, the Major-General arriving on a tricycle and Ruth and the Pirate King emerging from coffins in Act 2 went down very well.

The Major-General's dancing in his second act solo was also a highlight with great choreography from Rhonda. Shining from the chorus was our "L-plated" policeman, Michael Knuckey, whose timing and gift for humour were later to propel him into solo roles. Subsequent performances were enthusiastically received and audience numbers were the best ever - 1,253 over the season.

Some memorable hitches did occur, such as the "blowing" of the lights at the start of act 2 one night. Fortunately the girls started the scene with candles, and by the time these had to be "blown" out, some house lights had been put on at the back of the stage, an appropriate button had been reset and the show continued without a break. One evening someone locked the foyer door through which the policemen were to enter. Panic stations until someone came to the rescue.

One incident which has provided much hilarity over the years since is best told by the key player herself - Gael Shearer (as translated by Edna Nelva):

"During our performance of The Pirates of Penzance it was (unfortunately) obvious to the ladies in the cast that amongst the wonderful male pirates and policemen singing in the chorus we had one who was renowned for reaching for more than a high C.

"The choreography required at one stage that the ladies (in their stunning Victorian bathing suits) lie on stage and wave their legs about.

"With much giggling, in the secrecy of the ladies dressing room, my plot was hatched, and my bathing trousers were targeted for a message. I decided that the gusset of my trousers would be the appropriate place to put a few words. With the aid of the female cast and a coloured texta I wrote the short but sharp message "P.O.Q.".

"At the appropriate moment I had the satisfaction of seeing him blush (even under the stage lights) and he was so shocked he missed his note!

"There is a photo somewhere of the gusset complete with graffiti, should a viewing be requested."

Perhaps an appropriate finale to this chapter might be an extract from the Production Committee Report.

"The Production Committee reports that The Pirates of Penzance was the most successful show produced by the company so far. This was not only from a financial point of view, but also artistic. There were many innovative ideas, the chorus and sets were the best yet, and more people saw the show than on any previous occasion."