My first taste of this popular G & S double-bill (in fact of live theatre per se) was an amateur performance in a church hall in England just weeks after World War II ended. Time-wise, that was roughly half way between the London premiere performances of these enduring works, and today. And I am constantly amazed at the innovative results of successive productions.

The superior quality of this Babirra production can be principally attributed to the appointment of well qualified professionals in charge, and the extraordinarily talented performers, who have survived the competitive auditions and are now giving their best because they love it.

Here, the two works possess not only the bold qualities of design, direction, movement and voices, but also those subtle elements which audiences unwittingly appreciate, like visual balance, enthusiasm, pace, smooth scene changes and an unobtrusive orchestra.

The modular scenic design was conceived by Katherine Branch. Black and white stripes would dominate the “Trial” courtroom were it not for the fact that the cast carry many of the pieces with them. Their positions and angles change and are therefore often concealed within the energetic action – especially of the jurymen, or the ladies who occupied the rest of the room.

The combined talents of Director Leone Cambage and Choreographer Nicole Davis would have accounted for the balance of groupings and the organised chaos – especially in ‘Trial’.

Together with Musical Director John Ferguson and Chorus Master Kevin Kelley, the entire cast is well drilled and disciplined. There is none of the fumblebumbling, hesitations, collisions and expressions of panic, or dissonance from the pit, all of which often mar an otherwise satisfying production.

The ensemble singing is another demonstration of focus. Gilbert’s clever lyrics and Sullivan’s harmonies delight the ear.

The young female leads, Catherine BoIzonello (Angelina Tibbits in Trial) and Samantha du'Rennes (Josephine in Pinafore) sing beautifully, although the lyrics in Gilbert’s ‘senti-mantic,’ asides are sometimes lost, even in mid-auditorium. But, to be fair I usually find this with the syntax of Gilbert’s lyrics. Jenny Wakefield’s Buttercup is nicely bold, in-your-face and in-your-ear.

The male leads are something of a mixed bunch.

In ‘Trial’ the opening bars from the Usher are full of promise and place Alan Wright on the middle rungs of achievement. Paul Dernelly as the inebriated Council for the Plaintiff – occupies an upper rung for a splendidly funny performance and a study in the subtleties of character. On the other hand we find Gerard Schneider (the Defendant) and John Filonzi (the Judge) on lower rungs; lacking a certain energy … passion for the role … je ne sais quoi.

(I should also mention that these two characters seem inappropriately dressed amid the many thoroughly appropriate costumes adorning all others.).

In ‘Pinafore’ there are wonderful male singer/actors: Andy Payne and Kevin Kelley give us respectively the quintessential Sir Joseph Porter and Captain Corcoran. Surely G & S must have had a crystal ball and created these roles for them … and us. Bill Connellan maintains and sings well the difficult role described by one writer as “the embodiment of the ugly truth:” Dick Deadeye. We would call him an informant … a ‘dobber-inner.’

Less appealing than these chaps are Steven Crosby (Ralph Rackstraw) – the juvenile lead, lacking the conviction of a passionate lover, and Phillip Elphinstone (Boatswain – Bill Bobstay) who is difficult to understand as he calls out orders to the crew.

As this contribution may go public while the production still runs, it would be improper of me to comment further on the sets and scenery, except to say they are very effective.

An unfortunate episode occurrs which hopefully falls into the “one-off / unpredictable / bad luck” category. Poor Josephine was introducing herself in song from Pinafore’s rigging. While being lowered from the fly-tower, the spar to which she was secured appeared to catch and stop short of its position. It remained very high in the procenium arch with Josephine’s face unlit. Samantha du'Rennes, however, did not miss a beat as she bravely sang …………“Sorry her lot!”

Among the aforementioned ‘thoroughly appropriate’ costumes were those of the bridesmaids at the trial. Unwilling to speculate on the reasoning, the Victorian layers of clothing stop at the (pink) underwear – much less revealing in those days, of course. They perform a clever and timeless dance as only girls could.

The colour-coded sisters, cousins and aunts of Sir Joseph look splendid, and the sailors of all ranks are also well turned out - Sir Joseph and Captain Corcoran especially so.

Oh! And another thing! It was the cat!

All in all, another example of Babirra’s high standard. Their next production, is The Merry Widow in the May/June and their 52^nd year.