THE GILBERT & SULLIVAN SOCIETY OF SOUTH AUSTRALIA

PRESENTS

The Gondoliersor The King of Barataria

Libretto: W S GilbertMusic: A S Sullivan

DIRECTOR: BARBARA TURNERMUSICAL DIRECTOR: IAN BOATH

22-26 MAY 2007THE UNION HALL

ADELAIDE

Please note:The use of cameras and audiovisual equipment is strictly prohibited in this theatre. Offenders may be asked to leave the theatre or their cameras may

be removed for the duration of the performance.

Mobile Phones must be turned off for the duration of the performance.

BARBARA TURNER – DIRECTORBarbara has been part of the Adelaide scene in music and drama for fifty years. Training at the Elder Conservatorium, she has tackled, during her career, everything from opera, musical comedy, oratorio, plays and the concert platform, with considerable success. She was in the original cast of Co-Opera and was a member of the ABC Adelaide Singers. She has written, directed and performed in many melodramas and has just retired as a conductor of chamber and a cappella choirs with young voices, winning many first prizes in Eisteddfods. She has been teaching voice for many years. Barbara has been performing the contralto and mezzo roles in G & S Operettas throughout her career, has played the Duchess many times as well as the role of Tessa. She has been part of the Gilbert and Sullivan Society since 1976 and is an Honorary Life Member. Her most recent role for the Society was as Lady Angela (Patience) in 2006. In May 2003 she directed The Mikado for the Society.

IAN BOATH – MUSICAL DIRECTORIan is a freelance composer, arranger and conductor He is currently undertaking a Research Higher Degree in Australian Cultural Studies. In his spare time he conducts 10/27 RSAR Army Band, a Corporate Jazz Vocal Ensemble and the Table for Seven Vocal Ensemble. In 1994, Ian won a scholarship to study Orchestral Conducting in Siena, Italy, winning the Opera Conducting Prize. He also undertook studies in ‘Writing Music for Film’ with Ennio Morricone. Ian has been Musical Director for Opera, Operetta and Music Theatre productions in Italy, Holland and throughout Australia. This is Ian’s seventh show for G & S, previous shows include Fiddler on the Roof, My Fair Lady, Sweeney Todd and most recently, in 2006, Iolanthe.

HAZEL GREEN – SPECIALIST CHOREOGRAPHYHazel first appeared in a Gilbert & Sullivan operetta (The Pirates of Penzance) in 1973. Since then, she has appeared in almost 50 productions either as a performer, choreographer or director. Her experience has ranged from directing young children in school productions to playing Sister Mary Amnesia (Nunsense) - her favourite role. Another favourite has been that of Phoebe in Yeomen - she has played her twice in full productions and several times in Tarantara! Tarantara! and 100 Years of Gilbert and Sullivan. In 2004, Hazel was the choreographer for Camelot as well as appearing in the role of Morgan Le Fey. She followed this with choreography and an appearance in An Evening With Dennis Olsen and finished the year appearing as Ruth and choreographing The Pirates of Penzance. Hazel directed Oklahoma! for the Society in 2005 for which she won Best Director in the Messenger Press Light Year awards. In 2006, Hazel played Mrs Higgins (My Fair Lady) for the MS Society and Ayah (The Secret Garden) for Therry. Hazel is an Honorary Life Member of the Society.

DIRECTOR’S NOTESI had the privilege of spending four days in Venice in February this year and it is a truly wonderful and fascinating island. It gave me the opportunity of seeing and feeling this amazing place in a special way. I experienced Venice awakening at sunrise and saw the beautiful colours of the morning sunlight peep through the alleyways colouring the ancient stonework and glistening on the water. I glided in a Gondola through narrow canals bordered by buildings, centuries old. I walked through tiny cobbled streets, over dozens of bridges and saw the old wells in every square. The charm of Venice will stay with me forever and I hope that I have been able to portray some of this colour, character and emotion into my production. I was very excited to be able to bring back some authentic Venetian masks which we are using as they were worn in the 1750s.

The Gondoliers was the twelfth opera by Gilbert and Sullivan and it opened at the Savoy Theatre on December 7th 1889 and ran until June 20th 1891, a total of 559 performances. I love the freshness of this opera, the colour, the fun, the vitality, the wit, the brilliant music and the most delightful characters. It has been a great pleasure directing this production, being a mixture of lots of fun and hard work, with a committed, very talented and wonderful cast, crew and production team. I have been extremely fortunate to have Ian Boath as Musical Director and Hazel Green as Choreographer. We have all worked together to present to you a traditional Gondoliers filled with energy and a few surprises. Please relax and enjoy.

Barbara TurnerMay 2007

Dramatis Personae

THE DUKE OF PLAZA-TORO (a Grandee of Spain) Richard TrevaskisLUIZ (his Attendant) Timothy WilsonDON ALHAMBRA DEL BOLERO (the Grand Inquisitor) Timothy IdeMARCO PALMIERI ) Paul TalbotGIUSEPPE PALMIERI ) David LampardANTONIO ) Stuart BensonFRANCESCO ) (Venetian Gondoliers) Brian SudlowGIORGIO ) Gavin Lloyd-JonesANNIBALE ) Peter HerrimanTHE DUCHESS OF PLAZA-TORO Bev SheanCASILDA (her Daughter) Alisia JedrzejczakGIANETTA ) Alexandra StubberfieldTESSA ) Gemma GibsonFIAMETTA ) (Contadine) Laura WhiteVITTORIA ) Verity HouseGIULIA ) Susan Brooke-Smith INEZ (the King’s Foster-mother) Lucinda DoyleGIACOPO John Hoskins

Chorus of Contadine and Women of VeniceRachel Evans, Casmira Hambledon, Helen Herriman, Susan Henderson,

Bella Jedrzejczak, Jennifer O’Connor, Dione Palmer, Marjorie Quin,Caroline Stanley-Smith, Marie Taylor, Renie Walker

Chorus of Gondoliers, Men-at-Arms, Heralds and PagesAlex Bond, Jason Cane, Robert Caust, Michael Cochran, Damien Coghlan, Sam Davy, Steven Fischer, Barry Hammond, Richard Manning, Benjamin Neale, Blake Parham,

Mark Stefanoff

SupernumerariesBruce Ide, Julian McCabe, Elizabeth Olsson, Vanessa Perrett, John Turner

Children of VeniceRuby O’Loughlin, Nicholas Peters, Lisa Turner, Kieren Turner

BEV SHEAN – The Duchess of Plaza-toroBev Shean is one of Australia’s most versatile artists and has performed for many years nationally and internationally, with a vast range of roles in her repertoire. She has experience in all facets of entertainment, in drama, television, radio, musical comedy, musical theatre, operetta, opera, music hall and the concert platform where she was a soloist with the Queensland Theatre Orchestra and the Queensland Symphony Orchestra. She has been a principal artist with many companies including The Queensland Theatre Co., Lyric Opera of Queensland, Brisbane Light Opera Co., Victoria State Opera, State Opera of South Australia, Opera A.C.T., Perth Opera, and as a guest artist with the Hong Kong Arts Festival. One of the highlights of her career was her highly acclaimed and compelling portrayal of Nellie Lovett, in the first professional presentation, in Australia, of Stephen Sondheim’s Sweeney Todd for Opera A.C.T. She also appeared as the Fortune Teller and Inn Keeper in the Australian Premier of The Fiery Angel for State Opera of South Australia.

Among Bev’s many successful roles are, The Fairy Queen (Iolanthe) (with Dennis Olsen), Connie (Dinkum Assorted), Miss Hannigan (Annie), Martha (Faust), Berta (The Barber of Seville), Marcellina (The Marriage of Figaro), Frauline Schneider (Cabaret), Flora (La Traviata), The Duchess (The Gondoliers), Madam Flora (Gian Carlo Menotti’s The Medium) (her favourite role), the Old Woman (Candide) (a concert version), Public Opinion in (Orpheus in the Underworld), and Filipjevna (Eugene Onegin) for which she was nominated for a Green Room Award.

She toured Australia and New Zealand as Katisha in Simon Gallagher’s production of The Mikado (with Jon English) and then New Zealand again as Ruth in The Pirates of Penzance with the same company. For the Queensland Performing Arts Trust she appeared as Gladys Moncrieff in the very successful My Life is Love (a 2 person show). In 1999 Bev “retired” to Victor Harbor where she teaches singing, helps with auditionees for the South Coast Choral and Arts Society’s productions, is that company’s coach and adviser, and has played the roles of Katisha, Vera Charles (Mame) and in 2004 Bloody Mary (South Pacific).

The Society was delighted to feature Bev as Lady Jane in its 2006 production of Patience, with Dennis Olsen.

RICHARD TREVASKIS – THE DUKE OF PLAZA-TOROEarly vocal training at the Elder Conservatorium whetted Richard’s appetite for the stage. Specialising in comedy and character roles, he has played more than fifty parts in G&S, operetta and musical theatre. Amongst his favourites are Col Pickering (My Fair Lady), Wilfred Shadbolt (Yeomen of the Guard) and the Duke of Plaza-Toro (The Gondoliers) all for the Society, and Mother Burnside (Mame) and Madame Lucy (Irene) for Therry. For the past 25 years, Richard has focused on directing. In 2006 he won The Advertiser’s Oscart for Best Direction of A Musical (The Secret Garden) (Therry). Other recent productions were A Little Night Music (2004) for Therry and Patience (2006), Trial By Jury (as part of An Evening with Dennis Olsen) and The Pirates of Penzance (both 2004) for the Society. He has also directed for The George Street Company (the Young Artists of the G&S Society), Sideline Artists, The Met, Q Theatre, Elder Conservatorium and the State Opera schools programme. Favourite productions include the abovementioned Therry productions, Closer Than Ever (Sideline Artists) and Sweeney Todd (G&S Society). He is to direct Into The Woods for the Society in September this year. An Honorary Life Member of the Society, Richard is also its current Vice-President.

TIMOTHY IDE – DON ALHAMBRA DEL BOLEROTimothy has been with the Society for many years in various capacities as graphic and set designer as well as numerous principal roles. He was last seen as Major Murgatroyd in the 2006 production of Patience and as Lord Mountararat (Iolanthe) that same year. Tim has played both Don Alhambra and Guiseppe in separate productions of The Gondoliers, Ali Hakim (Oklahoma!), St Brioche (The Merry Widow), Wilfred Shadbolt (Yeomen of the Guard), Lord Mountararat (Iolanthe), Counsel for the Plaintiff (Trial by Jury) and again in separate productions, Captain Corcoran and Dick Deadeye (HMS Pinafore). He directed Tarantara! Tarantara! for the Society in 2003.

PAUL TALBOT – MARCO PALMIERIPaul most recently co-founded Six Foot Something Productions and appeared as Jamie in their debut production of The Last Five Years. With the Society Paul has played Strephon (Iolanthe), for which he received a special mention in the Messenger Press Light Year Awards and most recently performed opposite Denis Olsen as Grosvenor (Patience). He was nominated for an Adelaide Critics Circle Coopers Award for this performance. Paul has appeared with the MS Society as Combeferre (Les Miserables) and Rapunzel’s Prince (Into the Woods). He also built the set and props for the latter production. He created the role of Picander (Polly – The Opera) for the 2003 Adelaide Fringe Festival and has also played King Charlemagne (Pippin), Mortimer Brewster (Arsenic and Old Lace) and John Smith (Run For Your Wife). Paul has sung with the Adelaide Chamber Singers and the Adelaide Symphony Orchestra including the first performance of Peter Sculthorpe’s Requiem for the 2004 Adelaide Fringe Festival as well The Messiah at St Peter’s Cathedral.

ALEXANDRA STUBBERFIELD – GIANETTAAlexandra graduated with Honours from the Elder School of Music last year, under the tuition of Rosalind Martin. She is currently singing with The Adelaide Chamber Singers, and just recently appeared with Syntony in Purcell’s Dido and Aeneas at the Coriole Music Festival. Later this year she will perform in the State Opera Chorus in Donizzetti’s L’Elisir d’Amore and Verdi’s Un Ballo in Maschera. Previous roles include Adele in the Elder School of Music’s production of Strauss’ Die Fledermaus, and Leila, with the Society in their 2006 production of Iolanthe.

DAVID LAMPARD – GIUSEPPE PALMIERIDavid is best known throughout Australia as the science host of the Channel 9 children’s program Y?. Other TV credits include ABC Asia-Pacific’s Nexus, ABC TV’s Behind the News and Channel 7’s AM Adelaide. His professional theatrical credits include South Pacific for Seabiscuit Productions and the Adelaide Festival Centre, A Wild Evening With Andrew Lippa, Take Flight and Science Rocks! (co-creator) for the Adelaide Cabaret Festival and Cinderella for Mighty Good Productions. He is a co-founder of Six Foot Something Productions, recently producing, directing and designing The Last Five Years. David directed his first production for the Society last year (Iolanthe), and was subsequently awarded an Advertiser Oscart (‘Best Up-and-Coming Director’) and a Messenger Light Year award (‘Best Direction of a Musical’) for his efforts. David has directed, designed (sets and costumes) and appeared in lead roles with many Adelaide theatre companies. For the Society, roles include George Grossmith (Tarantara! Tarantara!), Captain Corcoran (HMS Pinafore), Grosvenor (Patience), Mr Cox (Cox and Box), Luiz (The Gondoliers) and Strephon (Iolanthe).

GEMMA GIBSON – TESSAGemma is currently completing Honours with Guila Tiver at the Elder Conservatorium. With the Con, she has performed as a soloist in Handel’s Israel in Egypt, in Tippett’s A Child of Our Time and as Orlofsky (Die Fledermaus) and Third Boy (The Magic Flute). Gemma has appeared in seven of the Society’s productions including Celia in Iolanthe. Other favourites include 2004’s Camelot and Pirates of Penzance. For Musaic Vocal Company Gemma played Mrs Kneebone (A Dinner Engagement) and Agatha for The Occasional Theatre Company (Guys & Dolls).

ALISIA JEDRZEJCZAK – CASILDAAlisia began performing in amateur musical productions in 1996 when she played Marta (The Sound of Music) for Mayfair. Since then, she has been involved in numerous school and amateur theatre company productions, more recently playing Mimi (Guys & Dolls) for The Occasional Theatre Company and Francisca (& Rosalia’s understudy) (West Side Story) for the MS Society. In 2003, Alisia performed the lead role of Jane (Salad Days) directed by Peter Hopkins; sang Guilia in the concert version of The Gondoliers with Rae Cocking and Kevin Miller; the Milkmaid and a chorus member in the MS Society’s Oliver!; and appeared in the chorus of The Mikado with the Society. Alisia achieved a perfect 20 for Drama Studies in year 12 (2002) for which she received the State Theatre Award for Excellence in Drama. She has also won numerous Singing Eisteddfods and Dancing competitions.

TIMOTHY WILSON – LUIZTimothy studied Voice at the Elder Conservatorium with Keith Hempton. His productions include South Pacific (2000), The Elixir of Love (2001), Orfeo (2002) and The Marriage of Figaro (2003). He has appeared with the Society as Willis (Iolanthe), Jud Fry (Oklahoma!) and Sir Sagramore (Camelot), in the Chorus of Pirates of Penzance in 2004 and was Chorus Master of The Sorcerer and Patience. In 2006, he appeared as Dr Falke (Die Fledermaus) for the Elder Conservatorium.

LUCINDA DOYLE – INEZLucinda’s singing experiences include performing with her school choir in the UK and France, the Adelaide Eisteddfods, concerts at Ayers House and the Sing your Soc.’s Off at the Cabaret Festival. Lucinda began her singing training in 1998 and in 2003 played Fiona (Salad Days) for Peter Hopkins. For the Society, she appeared in Camelot, Pirates of Penzance, The Sorcerer, Iolanthe and as Gertie Cummings (Oklahoma!). Lucinda’s recently performed in My Fair Lady with the Ms Society in 2006 and Singing in the Rain with Northern Light Theatre Company earlier this year.

STUART BENSON - ANTONIOStuart appears in his fifth production for the Society. With the Society he has appeared in Patience with Dennis Olsen, Iolanthe and as Fred (Oklahoma!). Stuart received the Robert Dawe Voice Scholarship in 2004 and is currently studying with him. He has performed in the choir of the State Opera in their production of Parsifal (2001), with the National Youth Choir of Australia and the Adelaide Kapelle Singers. He recently joined the Society’s Board of Management.

LAURA WHITE – FIAMETTALaura currently studies with Guila Tiver at the Elder Conservatorium. She has appeared in numerous amateur productions, both with the Society and other Adelaide companies. Highlights include Doreen (The Sentimental Bloke), Mrs Darling (Peter Pan), and Vibrata (A Funny Thing Happened on the Way to the Forum). For the Society, credits include Vittoria (The Gondoliers), Iolanthe, The Mikado, Tarantara! Tarantara! and Trial by Jury with Dennis Olsen, as well as several concerts at Ayers House.

verity house – VITTORIAVerity is in the final year of her Bachelor of Music with Guila Tiver at the Elder Conservatorium. With the Con, she has performed as a soloist in Britten’s A Ceremony of Carols and in Pergolesi’s Stabat Mater. Verity has also performed in The Magic Flute, Suor Angelica and Die Fledermaus with the Con. For the Hills Musical Company, Verity played Robyn (Godspell) and appeared in the award winning Seussical The Musical. Verity appeared in the Society’s The Mikado in 2003.

BRIAN SUDLOW – FRANCESCOA stalwart of the Society since 1991, Brian has appeared in 28 productions and in all but two operettas of the G&S repertoire, many of them he has performed multiple times. This is his fourth production of The Gondoliers. Other shows include 100 Years of Gilbert & Sullivan, Die Fledermaus, My Fair Lady, Fiddler on the Roof, Tarantara! Tarantara!, Camelot and Oklahoma! Brian is also an accomplished ballroom dancer and square dancer.

GAVIN LLOYD-JONES – GIORGIOGavin has performed in the full repertoire of G&S operettas for this Society and has played numerous minor principal roles with Adelaide musical theatre groups over the past 25 years. He last appeared with the Society in 2006’s Iolanthe. Roles include Jacob (Joseph and the Amazing Technicolour Dreamcoat), Rob Mordeba (Fiddler on the Roof) Ali ben Ali (Desert Song), Mr Shalford (Half a Sixpence), Mr Twimble (How to Succeed in Business) and a range of drunken roles in Little Shop of Horrors, Into the Woods and Evita.

SUSAN BROOKE-SMITH – GUILIASusan started performing in choirs such as the Adelaide Girls Choir and then graduated to the Adelaide Harmony Choir, performing in the staged version of Mendelssohn’s Elijah with the Harmony Choir and George Street Company. A member of the Society since 2002, Susan has performed in the chorus for The Gondoliers, Iolanthe (twice), The Mikado, Tarantara! Tarantara!, Camelot, The Pirates of Penzance, The Sorcerer, Oklahoma! (small singing solo) and Patience. Susan has also sung the role of Guilia in a concert version of The Gondoliers. Susan is currently taking singing lessons from Barbara Turner. She is a member of the Society’s Board of Management.

PETER HERRIMAN – ANNIBALEPeter Herriman has been performing with the Society for eight years and before that with several choirs and as a chorus member of the State Opera. He is a member of the Society’s Board of Management. He has a keen interest in the legal system, making him perfect for the role of Annibale.

THE STORY

Act IThe Piazzetta, Venice, 1750

The sun rises over Venice and the town square comes alive, with celebrations underway amongst the young maidens (contadine). The two most eligible bachelors of the local gondoliers, brothers Marco and Giuseppe Palmieri, will soon arrive to choose wives. They do so in a democratic manner – blindfolded! Marco selects Gianetta and Giuseppe, Tessa. The happy couples hurry off to be married.

An impoverished noble, the Duke of Plaza-Toro, his wife, his daughter Casilda, and their servant, Luiz, arrive from Spain. They have come to meet Casilda’s husband, the King of Barataria, to whom she was married in infanthood. Casilda is very upset by this news because she is secretly in love with Luiz. She seeks clarification from the Grand Inquisitor, Don Alhambra del Bolero.

Don Alhambra explains that Barataria was thrown into revolution shortly after the marriage and to protect the infant prince’s life, the child was hidden with an aging gondolier (Baptisto Palmieri) to be raised with his own son as a gondolier. The revolution has now been quashed and the Baratarian monarchy can be restored. However, there is a difficulty – Palmieri mixed up the babies and no one but the prince’s old nurse can identify which is the prince and which the gondolier. She now lives in Spain and her son, Luiz, is sent home to fetch her.

Don Alhambra goes in search of the Palmieri brothers and finds, to his horror, that they have married – the King is now a bigamist! Hiding his concern, he convinces the two (both staunch Republicans) to travel to Barataria to reign jointly until the identity of the King is clarified. Their gondolier friends can go with them but the women must remain behind. Tearful farewells ensue and the gondoliers embark for their island kingdom.

Act IIPavilion in the Palace of Barataria

Three months have now gone by and the gondoliers are thoroughly enjoying court life. Marco and Giuseppe have remodelled the monarchy along democratic lines and all men and positions in the Palace are now equal.

The two would-be kings are missing their wives and are delighted when Tessa and Gianetta arrive with their friends from Venice. Their rejoicing is short lived however, when Don Alhambra and Plaza-Toros arrive to reveal the childhood wedding. There are now three claimants for the Queen’s Crown!

All that can be done is to wait for Inez to arrive. To pass the time, the Duke and Duchess instruct Marco and Giuseppe in the proper behaviour of kings at court. The three “wives” commiserate as they realise that one will lose a husband when the truth is revealed.

Inez is brought to Court and after some persuasion (from the Royal Torturer) she reveals the identity of the King. All is resolved happily and the gondoliers return to Venice to ply their trade, whilst the King reigns in Barataria with his Queen at his side.

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The orchestra1st Violins Rebecca Kemp (Leader) Flutes Cassandra Boath

Shelley Walker Mitch De Jonge

Verity Adams Oboe Jo Bridgeman

Melissa Nuske Clarinets Rodney Sandercock

2nd Violins Meredith Robbins Elizabeth Brown

Melanie Harrald Bassoon Isaac Bridle

Hannah Gerace Horns Paul Hamptom-Smith

Viola Saam Thorne Brent Parry

Cello Timothy Oborn Trumpet Sean Carey

Bass Emrys Leitch Trombone Nick Pietsch

Percussion Scott Howard

And All Shall Equal Be!Although Gilbert and Sullivan were to write a further two operettas, The Gondoliers was Gilbert and Sullivan’s last great success. In 1889 Gilbert complained that in Grand Opera the librettist “is always swamped in the composer” to which Sullivan retorted that he had been sacrificing himself to Gilbert’s words, culminating in a letter (from Venice!) where he stated bitterly that he was merely “a cipher in the theatre.”

The two finally reconciled and set to work with renewed enthusiasm on an idea “connected with Venice and Venetian life,” which would “hold out great chances of bright colour and taking music.” The long opening number (more than fifteen minutes of continuous music) was Gilbert’s idea, and it gave Sullivan the opportunity to establish the mood of the work through music.

The Gondoliers is founded solidly on the idea of equality amongst men, recognition that its two creators were each adept in their profession and respected as such. As Gilbert said, they met “as master and master – not master and servant.”

The theme of equality also had relevance to the cast of the Savoy – Jessie Bond, a long time cast member, asked for a pay rise, which infuriated Gilbert. He ensured that no principal stood out from the other, hence the number of double roles – two gondoliers, two sopranos, two tenors, two contraltos and two parallel plots.

There was a command performance of The Gondoliers for Queen Victoria at Windsor Castle in 1891, the first such performance of a Gilbert and Sullivan opera to be so honoured.

During the run of the opera, the partners became embroiled in a lengthy quarrel about the sharing of expenses, including a new carpet in the Savoy Theatre foyer. Gilbert brought legal action against his partners, and the relationship was never the same.

But for one brief moment, the two men were in complete and happy accord:

“I must thank you for the magnificent work you have put into the piece. It gives one the chance of shining right through the twentieth century with a reflected light.” Gilbert

“Don’t talk of reflected light. In such a perfect book as The Gondoliers you shone with an individual brilliancy which no other writer can hope to attain.” Sullivan

Their work has shone through as Gilbert hoped and continues to blaze into the twenty-first century. What more fitting operetta then to celebrate the Gilbert & Sullivan Society of South Australia’s 70th Anniversary!

ACKNOWLEDGMENTSCharissa Duffy, Radio 5MBS, The Advertiser, Therry Dramatic Society, Peter Goers, Ewart Shaw,

Adelaide Theatre Guide, Encore Magazine, SA Life, Messenger Newspapers,Billy Hyde Music, Gilbert & Sullivan Archive, Matt Byrne, MAD Promo, Poster Impact,

Avro Solito Fine Colour Printers, DK West Printers, Mellor Olsson Lawyers, Front of House Staff

Glossary of terms(with thanks to the Gilbert & Sullivan Very Light Opera Company)

Act I : • Barataria - the title of Gilbert’s mythical island kingdom of Spain comes from Cervante’s Don Quixote where the Don promises his companion Sancho Panza the governorship of this island “surrounded by land” • dolce far niente - delightful idleness • Gondolieri carissimi! Siamo contadine! - Dearest gondoliers! We are peasant girls! • servitori umilissimi! - most humble servants! • Per chi questi fiori bellissimi? - For whom are these most beautiful flowers? • Per voi, bei signori, O eccellentissimi! - For you, dear gentlemen, oh most excellent ones! • o ciel! - Oh, heaven! • Buon giorno, cavalieri - Good morning, gentlemen • Siamo gondolieri / poveri gondolieri - We are gondoliers / poor gondoliers • Signorina, io t’amo! / Contadine siamo. - Lady, I love you! Peasant girls are we. • Castilian Hilalgo of 95 quarterings - Spanish nobleman, with 95 families in his heraldic shield, representing a fabulous array of noble ancestry. • cornet-a-piston - cornet (related to the trumpet) with three valves operated by pistons (though The Gondoliers is set in 1750, this valve-piston cornet was not invented until 1813) • Jimp, isn’t she - Slender and elegant • teach him the trade of a Timoneer - from French timonier, helmsman or steersman • She’ll bear away the bell - take first prize; win the contest • the Chancellor in his peruke - powdered wig • Aristocrat who banks with Coutts - long-established London bank, used by royalty

Act II : • we may hold a Royal Levée - a court reception or gathering, in morning or early afternoon • spend an hour in titivating all our Gentlemen-in-Waiting - sprucing up, smartening • having passed the Rubicon - the point of no return; a river significantly crossed by Caesar • Dance a cachuca, fandango, bolero - lively Spanish dances • Xeres we’ll drink Manzanilla, Montero - Xeres is sherry, the other are varieties of it • Tuck in his tuppenny - schoolboy slang used in leapfrog, meaning “duck his head,” tuppenny meaning two-penny coin, referring to the head • up goes the price of shoddy - cheap fabric made from reclaimed wool • with double-shotted guns and colours nailed unto the mast - cannons loaded with twice the usual shot (a reckless tactic) and flag nailed so it cannot be lowered in surrender • Quote me as their great double- barrel - one with a hyphenated name, signifying status • merrily crying our “premé”, “stalì” - calls used by gondoliers to avoid collisions

Production Crew

Production Manager John TurnerProduction Secretary Jess NashDirector Barbara Turner Specialist Choreography Hazel GreenMusical Director Ian Boath Repetiteur Andrew Georg with Helen Angove, Chester SchultzSet Design Ole Wiebkin Set Painting Ole Wiebkin with John Axe, Ioane Vakaci

and cast members Set Construction Michael O’Connell with John Axe, Ole WiebkinCostume Costume Co-ordination and Design Bronwen Major Wardrobe Mistress Anne Ide Millinery Anne Taylor Wigs Marjorie Quin Masks Ca’Macana, Venice, Barbara TurnerLighting Design Larraine WheelerProperties John AxeStage Manager Larissa Helbig Assistant Stage Manager Jess Nash Mechanist Phil Brooks Theatre Technician Toby Peart Backstage Alie Levi, Peter Rogers Follow Spot Operators David Hall, Ross Clark Prompt Elizabeth Olsson, John TurnerPublicity Elizabeth Olsson with Susan Henderson,

David Lampard, Richard Manning, Paula Pamment, Ted Spence

Graphic Artist Richard Manning Programme Elizabeth Olsson with Richard Manning

Photography James Elsby, Rosey BoehmTicket Secretary Paula Pamment

Box Office Chris ButlerFront of House Manager Beverley Scarce

THE GILBERT & SULLIVAN SOCIETY OF SOUTH AUSTRALIA INCORPORATED

Established 1937

Patron

The Honourable Trevor Olsson AO MBE KCSJ RFD ED

Board of ManagementPresident Vice-President Treasurer Secretary

John Turner Richard Trevaskis Michael Cochran Kate Warren

Board Members

Stuart Benson, Susan Brooke-Smith, Peter Herriman,Susan Henderson, Paula Pamment, Ted Spence

Production Managers

John Turner (The Gondoliers) Larissa Helbig (Into The Woods)

Assistants to the Treasurer

Jane Fairlie, Jenny Lu

Honorary Life Members

Mark Backhouse, Harold Berrett, Cecilia Borda, Christine Butler,John Drake, Helen Ellis, Hazel Green, Claire Heap, George Heap,

Susan Henderson, Jack Higgs, Barry Hill, Mary House, Richard House, Maurice Howie, Molly Howie, Brian Hurrell, Anne Ide, Julian McCabe, Brian McLauchlan, Margaret McLauchlan, Brian Moore, Bruce Napier,

Elizabeth Olsson, Geoffrey Olsson, Paula Pamment, Monica Pole (in memory of Peter Pole), Marjorie Quin, Beverley Scarce,

June Stephenson, Marie Taylor, Richard Trevaskis, Barbara Turner, John Turner, Jenny Twigden, Renie Walker