How could anyone not be other than pleasured by the irresistible melodies and narrative charms created by the enduring British duo of Gilbert and Sullivan?
Neither could possibly have succeeded without the other as they navigated a working relationship to produce a fusion of music and words as equals in compositional terms. And then there was theatrical impresario Richard D’Oyly Carte who nurtured their collaboration on a series of 13 Savoy Operas.
Beginning in the mid-1870s it became a triumvirate match made in heaven. In Gilbert and Sullivan Opera Victoria’s (GSOV) latest show, Jubilee, featuring Trial by Jury, they are featured characters as part of a list of notable anniversaries, namely the 90th anniversary of the founding of the Gilbert and Sullivan Society Victoria.
Created and directed by Diana Burleigh – long associated with the company and a vital link in passing down its rich history to the current generation – celebration is at the heart of this passion-abundant musical theatre performance.
Dapperly dressed in period costumes, John Parncutt (Gilbert), Andrew McGrail (Sullivan) and Robin Halls (D’Oyly Carte) lovingly and comically conjure the early collaboration in D’Oyly Carte’s office as they read through Trial by Jury before this short bubbly work gets underway with madness and mayhem being the order of the day to conclude a wildly entertaining first part.
In the second part, Jubilee, Parncutt and McGrail return as the duo extraordinaire, apparitions in the present looking back on their successes while learning about GSOV, as does the audience, and marvelling at the thought that their works continue to be embraced to this day.
Integrated with all sorts of treats (24 of them) from every one of their collaborations, it’s an overall feast of fun adorned with some wonderful vocal highlights.
In Trial by Jury, the satirical wit and humour Gilbert and Sullivan became legendary for in mocking Victorian society’s flaws is glaringly on show – in this case, involving bureaucracy and the legal system.
It’s a ludicrous affair involving Angelina who sues her ex-fiancé Edwin for breaching their promise to marry. The judge and jury, smitten with Angelina, dismiss Edwin’s excuses and, as absurd arguments unfold, the judge resolves the case by marrying Angelina himself.
The chaos is directed for maximum impact in Burleigh’s simple but effective staging of its courtroom setting. Smart, colourful and well-detailed costumes catch the eye under Patrick Hill’s softly crafted lighting while several soloists and a chorus of rowdy folk act and sing with gusto.
As Edwin, the cocky Defendant, Ryan Jacobs is particularly satisfying in his suavity of voice and presence. Lucy Gries is a sweetly singing Plaintiff. All dolled up in bridal wear, she’s fancied by the men of the jury but caught in a compromising moment behind a newspaper with the Learned Judge who Geoff Dawes gives distinguished flair to as well as a solid grip on the musical pitter-patter.
Brett O’Meara is a pompous and plummy Counsel, Sam Hargreaves is a terrifically threatening Usher and the chorus are excellent. Gilbert would be tickled pink just how clear his libretto is enunciated and Sullivan of the tunefulness and vivacity of their vocals.
That attention to the music continues in Jubilee as the stage is filled with a large ensemble seated in groupings around the perimeter. While Burleigh offers a highly informative account of GSOV’s history, it can feel a tad stilted but, with enough humour embedded to keep it fresh, Parncutt and McGrail keep the momentum going smoothly.
Amongst it all, we learn that the company’s first review said more about the costumes than the show, how many professional careers have sprouted from its work and how lifelong love of the romantic kind has blossomed within its ranks.
One of those couples, Paul and Naomi Tooby, perform a tenderly melting highlight with Prithee Pretty Maiden from Patience. Beautifully radiant and pure, Naomi is part of a strong soprano voice type the company has the benefit of.
Danielle Zuccala is gloriously lucent and penetrating, alongside a robust Hargreaves, in So Go to Him from Patience and Serena Waterworth is delightfully expressive in Poor Wandering One from The Pirates of Penzance. Blending with the female chorus in a daintily melodic List and Learn from The Gondoliers, girl power rules where age is no barrier.
Rachel Buckley proves that point as a haughty-taughty Queen Victoria in Then One of Us Will Be a Queen also from The Gondoliers, joined by Parncutt and McGrail in a fabulously bouncy number.
The male ensemble are at their peak in the militaristic rhythm of Loudly Let the Trumpet Bray from Iolanthe and the entire company combine in several thrilling highlights, including the powerfully dramatic and stormy Death to the Invader from Princess Ida.
Music Director Timothy John Wilson keeps the tempo at moderate levels without any loss of energy that seems to assure Gilbert’s libretto is heard in the best possible manner and the small orchestra, tucked to the side of the stalls is in fine form.
And finally, to Queen Victoria’s displeasure that a concluding anthem does not entail God saving her, the company sing a resounding Hail Poetry, a so-called anthem to Gilbert and Sullivan I didn’t know but which boomed around me by many enthusiastic supporters. Without a doubt, Gilbert and Sullivan will be witnessing many milestone anniversaries to come.
Jubilee (featuring Trial By Jury)
Athenaeum Theatre 2, 188 Collins Street, Melbourne
Performance: Friday 17 October 2025
Season continues to 19 October 2025
Bookings: www.trybooking.com
For more information, visit: www.gsov.org.au for details.
Images: Gilbert and Sullivan Opera Victoria presents Jubilee – photos by Torquil Syme
Review: Paul Selar