"A Nice Dilemma" - Diamond Valley Singers

"A Nice Dilemma" is advertised as 'a rollicking new adventure based on the works of W. S. Gilbert and Arthur Sullivan'. Written by Darren Rosenfeld, I first saw this clever compilation as a concert performance in a church around a decade ago. I liked the concept and the execution then, but I like this stage version even better. And the tiny, historic Warrandyte Mechanics Institute hall, a delightfully renovated venue in the semi-rustic north-eastern verge of Melbourne, right by the Yarra River as it passes through the narrow gorge that saw the origins of Warrandyte as a gold rush village hugging the picturesque river banks, seems to somehow be the perfect setting for this whimsical, three-act musical smorgasbord of fifty-odd G & S songs in much the same way as the seaside village theatre was so fitting in the movie version of "The Pirates of Penzance". Rosenfeld has woven a classic Gilbertesque tale that, in less skilled hands, might easily have turned into a musical equivalent to Frankenstein's monster. The clever storyline draws on almost every G & S operetta you can name, with familiar characters in unfamiliar situations. It's witty, poignant and uproariously funny, and it never puts a foot wrong. It rushes along at a breakneck pace that complements the absurdities and machinations of the frenzied plot, tied together smoothly and with aplomb by DVS regular, the inimitable Malcolm Wilton. Seated to the side of the stage apron in a huge gilt picture frame, Wilton never misses a beat, whether narrating with mock horror, disingenuous charm or alarmed misunderstanding, or handing out props to principal characters at strategic moments. His performance as the Judge in the final act is also a comic highlight. Directed by Lynne Counsel, whose deft touch keeps the show moving at a cracking pace, without faltering or overwhelming either cast or audience, the show features her hallmark group scenes that never manage to look contrived or static. I observed to a well-known director from another company during the second interval that I thought it ironic that such a light-hearted confection, with so many people on such a small stage, and so many first-time performers, should be, in my humble opinion, one of the best showcases I've seen of Counsel's talent and skill as a director. Unobtrusive, but assured and subtle -- and utterly unmistakable. He agreed wholeheartedly, having co-directed several productions with her in recent years. Musical Director Graham Ford has clearly worked long and hard on both the score and the musical performances of principals and chorus (who sit on rostra at the rear of the stage, reminiscent of a classical Greek chorus). As I overheard one dyed-in-the-wool G&S aficionado remarked during one of the two intervals, "I'm finding it so hard not to sing along, out loud!" His friends confirmed enthusiastically that he was no orphan in that regard. The singing is a highlight of every DVS production, and this is no exception. Ford's work here is nothing short of masterful. One of the many delightful surprises of this production was the singing of the young ladies from Sullivan Girls' College. Especially the main trio (Joanna Patocs as Mabel, Michelle Reeves as Patience and Luisa Adami as Elsie), whose uniquely individual voices somehow blended into bright, effortless harmonic cascades that had me wanting them not to stop. Their youthful enthusiasm, talent and stage presence enhanced the overall production in the most enchanting ways. Jessica Stephens as Princess Ida, daughter of the Duke and Duchess of Plaza Toro(!), was also outstanding. With such talented youngsters in its ranks, DVS can look forward to many years of continued success. Other female principals were uniformly excellent, giving consistent performances that added measurably to the enjoyment of the evening. They included Robyn Mulder as the formidable, jilted Katisha, Julie Houghton as the Duchess of Plaza Toro and a bewitching performance by Mary Chandler as Buttercup -- another real highlight. Principals flitted from role to role throughout the evening, giving the impression of a huge cast, so much so that I was amazed at how relatively small the cast list was in the program. Then I realised, at one point, catching a movement at the rear of stage, that members of the chorus were also moving to and from the main stage to take principal or minor principal roles from time to time. Very smoothly done, and very effective. Amongst the male principals, Darren Rosenfeld's light, melodic tenor voice complemented a strong performance as Frederic, Kevin Maynes was unrecognisable (almost) as Dick Deadeye, Tim Warren was arguably the best I've seen or heard him as the Mikado, Tomas Dalton as Marco was suitably naive and eager, with a very promising tenor voice, and the two "revelations" for me were Alan Flint as the Pirate King and Adrian de Leonadis as Samuel. Flint's voice has suddenly developed into a powerful, true baritone under the tutelage of Graham Ford, and his larrikin, "kiss-my-arse" characterisation combined the swagger and naivete of a 14 year-old with the rakish charm of a born lothario. His performance had one suspecting that total anarchy could break out at any moment, adding an element of tension that was pertinent to the character, intentional or not. De Leonadis, in his second stage role ever, is polished, confident and his voice is developing well. His overall performance was impressive indeed. I believe we'll see much more to be impressed by from this very talented, fast-learning performer. Musical accompaniment by pianist Roxanne Viggiano was excellent, and lifted the music measurably. Andrew Griffith, on percussion, showed remarkable restraint and aptitude (you know percussionists!) and added numerous highpoints to the performance. Both musicians were unobtrusive, yet would have been sorely missed if they were not so skillful and reliable. I was surprised that the company had invested so much time and energy for only three performances, on october 26, 27 and 28. One can only hope that it won't be long before a longer, return season can be arranged to meet demand. I suspect there will be a very large number of disappointed would-be patrons once word of mouth gets around. Congratulations to everyone involved. This is one of the best, most entertaining productions I can recall from Diamond Valley Singers. Cuchulainn's rating: **** (four stars out of a possible five)