"Pretty pitter-pitter-patter/And the clitter-clitter-clitter-clatter/ Pitter, pitter, pitter/ Patter, patter, patter, patter, we'll dance!" - The Gondoliers
There's something ultimately engaging about watching the singers in a Gilbert and Sullivan production enunciate very, very clearly while trying to make it through the fast-paced and tongue-twisting libretti without spitting on the audience. (Just try saying "I am the very model of a modern major general" five times fast.)
The fantastical resolutions, comedic characters and complicated harmonies in the late 19th-century operettas written by Englishmen Sir W. S. Gilbert and Sir A. S. Sullivan are so popular that for a century hundreds of societies, including the Savoy Society of Ottawa and others often affiliated with British or Ivy League universities, have dedicated themselves to the production and enjoyment of "G&S" shows.
The Gondoliers, this year's offering from the 27-year-old Savoy Society amateur theatre group, is one of the pair's most famous and raucous operettas (a generally more comic but still vocally challenging version of opera, with spoken lines between arias).
Its story is typical G&S: low-brow mocking high-brow and vice-versa, romantic messes (including potential bigamy) and mistaken identities.
"This is the sort of comedy where the bad guys are really bad and the tenor is always stupid and the female leads are always gorgeous and young and bright and it has a good ending," said Daniel Gillis, who as Marco in The Gondoliers is taking on his third role with the Savoy Society (named after the theatre where G&S mounted most of their productions.)
Two mischievous gondoliers blithely going about their working-class lives are informed that one of them is the missing heir to the throne. But, alas, the nursemaid who can point to the heir is in a torture chamber. While waiting for her extraction, the gondoliers are sent to learn how to rule, with hilarious results.
Meanwhile, it seems the haughty daughter of the Duke was married to the heir (whichever gondolier that is) as a child; this puts her secret love, the two wives of the gondoliers, and any others who can get into the mix, in dire straits. Does it work out? Of course!
"With Gilbert and Sullivan the resolutions are always stupid," laughed Mari-Lyn Kelly, stage director for this production. "Their endings are ridiculous. In this play, I think everything is resolved within half of a song."
Kelly, a professional director and drama teacher, said she is thrilled to direct this play for the Savoy Society.
"Part of my excitement of being chosen was the feeling I had the confidence of people who had been around such a long time with Savoy and know far more about Gilbert and Sullivan than I do," she said, referring to the Savoy's community of actors and volunteers, some who have been with thte company since its first days.
"And in amateur theatre the people want to be there; they are there because they love the music, they love the process and they love socializing. With professionals, they're there because they are getting apid - it doesn't mean they do their job any less, but there isn't the same commitment to fun."
To emphasize its role as a community group, the company has raised more than $75,000 for area charities since its inception through benefit performances and contributions.
As a popular amateur company with longevity, the Savoy Society has more financial resources than newer troupes in the region, but is still unable to rent wigs for all but the lead actors. They do, however, get their costumes from shops in Toronto - costumes which will include short, frilly peasant skirts and velvet vests and big ball gowns setting the play in 1889 Venice, the year G&S first mounted The Gondoliers.
"Gilbert and Sullivan music is more complex than that of show musicals," said Angela Spinney, who plays the role of Casilda, the Duke's daughter, and has studied opera at the University of Ottawa.
"It is vocally challenging but at the same time it is light and fun to sing. With operas it is very passionate, with heavy lines that can be exciting to sing but you can't have as much fun with it because it is more challenging."
Many of the leads have training as singers, while others have taken some voice lessons. The society's auditions are open. About a third of each cast is newcomers to Savoy.
"The level of training ranges from not much to quite extensive, and others have natural singing ability and enjoy the camaraderie of the group," said Allison Woyiwada, the society's musical director.
Savoy Society has the reputation to draw accomplished singers to their auditions to fill the demanding cast list. And the two professional directors, and choreographer Joan Scarcella, with 35 years' experience as a dance instructor, should be able to put the cast of about 50 - including children and an octogenarian - into some captivating sequences.
"As soon as the audience hands in their ticket and steps in the door, I want them to be able to forget about the mortgage or car payment or student loans or tragedy," said Kelly.
"For 2 1/2 hours I just want them to have a really good time."
The Gondoliers plays at Centrepointe Theatre, 101 Centrepointe Dr., April 12 to 13 and April 17 to 20 at 8 p.m., and April 14 at 2 p.m. Tickets are $22; $12 for students and youth; and $10 for children (matinee only). Dinner theatre (April 20 only) is $80. For tickets, phone 727-6650.