KGASS

Kirkcaldy Gilbert

& Sullivan Society

 

Our next show

will be

The Gondoliers

to be performed

at The Adam Smith

Theatre

in March 2011

 

 

 

 

 

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KGASS

 

Gondoliers Rehearsals

 

Come along and join us for Gilbert & Sullivan's Gondoliers to be performed in the Adam Smith Theatre in March 2011.Our first rehearsal will be held on Tuesday 31st August, 2010 at The Strathearn Hotel, Wishart Place, Dysart/Kirkcaldy at 7.30pm.  The evening will be part rehearsal and part social.

 

Click here for a map showing the Strathean Hotel.

 

Gondoliers Auditions

Following on from our recent auditions we are still looking to fill the Principal roles of Marco, Giuseppe and Casilda. Auditions will be held on Tuesday 17th August at Thornton. Please contact Anne on 01592-595824 to book a time slot.

A fee will be taken at the audition equivalent to half the membership

ie. Full membership £60 so £30 due

New membership is £45 so £22.50 due

Student/Unemployed £15 so £7.50 due

 

Click here for the audition pieces

 

 

Welcome to Kirkcaldy Gilbert and Sullivan Society's Website.  We hope you find what you are looking for, whether you want to come to see our next show, or would like to be a part of our next show!

 

What would you like to do?

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Rehearsals

Rehearsals for our shows and concerts are usually held at 7.30pm on Tuesdays at the Strathearn Hotel, Kirkcaldy.  Please come along and join us.  If you're not sure what's involved, please see our FAQ page.

 

Where is the Strathearn Hotel?

The Strathearn Hotel is at 2 Wishart Place, just off Dysart Road, Kirkcaldy.  click here for a map or if you have satnav the postcode is KY1 2AS..

 

Sponsors

Many thanks to all our generous sponsors (click to visit their websites)

 

Northern Light, Edinburgh

Utopia Costumes, Forfar

The Victoria Hotel, Kirkcaldy

Heart and Soul Gift Shop, Leven

Kirkcaldy Chiropractic Clinic, Kirkcaldy

Sandy's Sign Shop, Kirkcaldy

Charlie Reid Travel, Kirkcaldy

New York Sandwich Co. Ltd, Kirkcaldy

Thomson Timber

The Gig Bag Music Shop, Kirkcaldy

Speedy Snaps, Kirkcaldy

Sounds Braw Ceilidh Band & Piano Tuning, Dunfermline

 

 

Reviews of our last show -

La Vie Parisienne March 2010

Report on La Vie Parisienne

Kirkcaldy Gilbert & Sullivan Society

Friday 5 March 2010

It’s not often you go to a Gilbert and Sullivan Society’s annual show to hear the strains of Offenbach. However, last week, Kirkcaldy Gilbert and Sullivan Society decided to portray La Vie Parisienne (Parisian Life) at the Adam Smith Centre and the result was very pleasing indeed. With its light-hearted music, its charming, scoundrel characters and a fast-moving, farcical plot, Offenbach's 1867 operetta is just like a French cross between Oscar Wilde and Gilbert and Sullivan – and so, Society regulars did not feel too far from home!

Craig Rose and Paul Copland were newcomers to the Society this year. They played two upper class rogues, Raoul de Gardefeu and Bobinet Chicard, and provided a sure grasp of the comedy required of the roles. The object of their affection was Metella, flirtatiously played by Nikki Johnstone. All three voices were very pleasant and well matched to their respective roles.

Next, enter the Baron and Baroness of Gonremark, from Sweden, played by the experienced Robert Peebles and Linda Miller. Linda sang beautifully and provided a straighter profile for the slightly larger character of Robert as he amusingly let himself be distracted by all Paris-by-night had to offer, unaware that Raoul and Bobinet had other, more amorous, plans for his wife! This was a new type of role for Robert and he handled it very well indeed.

Interwined with this grand design, we meet the strange and powerful figure of Brazil, played by veteran Robin Ozog – also the show’s director. Again, a slightly different role for Robin and his excellent grasp of a Brazilian, Irish and Indian accent was matched only by the mastery of his over-sized moustache, which he managed to keep on his face for the entire show! Robin’s presence on stage, his energy, his singing and his sense of comic timing were all essential to keep this complex multi-personality one of the driving forces of the whole show.

Linda Milne was Assistant Director and also played Gabrielle, the glove maker, and the object of Brazil’s affections. Linda is a sure touch in her acting and singing and this double act was one of the show’s highlights.

Equally important was the contribution of another of the Society’s stalwarts, Elaine Young. She played a very strong and convincing Pauline. Pauline was in charge of the butlers and maids – employees of Bobinet’s aunt, the Duchess, and it was their job to pose as socialites in an effort to distract the Baron so that Raoul could spend some quality time with the Baron’s wife. Elaine’s stage strengths are many but the quality of her voice perhaps the best tool in the armoury and the show was lifted that notch higher when she made her entrance in the second act.

One of the most notable points of the 3rd act was the moment where Allo Allo joined forces with Auf Weidersehen, Pet in the character of MarcEL from NewcastEL, very ably played by an uncharacteristically camp Brian Shaw. Brian used his not unobtrusive Geordie accent to maximum effect to portray a character that I would bet my life was not remotely in the thinking of the original librettists, Meilhac and Halevy. But the show was certainly the richer for this unusual characterization, so full marks, Brian.

The contribution of the minor principals to the fun of the evening cannot be overlooked. Kathleen Brown played Julie; Rachel Bean, Louise; Niall Aitken, Pierre; Paul Croxford, Jacques; William Dickson, Joseph and Archie Millar, the Station Master. Although technically a minor role, Graeme Ferguson ensured that maximum comedic impact was achieved through his role as the waiter Alphonse. Well done, Graeme.

The production was a clever blend of the traditional and the unexpected. Where else would you witness the traditional delights of the Can Can, well performed by Stages Dance School, and the interweaving of the appearances of Messieurs Ant and Dec and Mademoiselle Susan Boyle as guests at an 1860s Second Empire French Ball?

The chorus worked hard throughout the show and had been well prepared by musical director, John Howden. John was very skilled at keeping the chorus and his very able orchestra together throughout the lively chorus numbers and the ever changing tempi. Particularly memorable was Joie de Vie in the second act, where singers, musicians and dancers were absolutely together and underscored in a special way the fun and laughter of the whole show.

The show was extremely well supported by the other members of the production team, among whom special mention must go to wardrobe mistress, Louise Munro; stage manager Sheona Goodall and scenery by John Urquhart. The overall effect, under the inspired direction of Robin Ozog, was more than sufficient to do justice to this memorable night at the operetta.

And just in case you still have a desire to know how this amusingly farcical tale of deceit, lust, misguided affections and ultimately, forgiveness and redemption, worked out, Metella gets her man Raoul; the Baroness wins back her husband, and everyone else seemed to have enjoyed the romp through La Vie Parisienne. Certainly the audience enjoyed it.

Stephen Miller

7 March 2010

 

 

Reviews of our show -

Ruddigore 2009

 

Our audiences have said of the show...

 

"excellent show - thoroughly enjoyed it",

 

 "nice little extra touches in this production", "production sparkled",

 

"priceless - really funny"

 

"Congratulations to one and all for a splendid performance on Friday evening of "Ruddigore". The singing, acting, dancing and movement of principals  and chorus gave us a great deal of enjoyment. The colourful costumes and effective setting in both acts added to the total professional feeling given by the company to the audience. And the orchestra did not at any point overwhelm the singers.  Thank you for such an enjoyable evening."

 

"I came to the show on Friday and thoroughly enjoyed it. Please pass on my congratulations to all for a first class performance. It was my first Gilbert and Sullivan show and it will be the first of many. It seams almost unfair to single anyone out for special praise as they were all excellent but I will admit to being very enthused by your leading pair. Robin really brought Sir Ruthven Murgatroyd alive with a great performance and Linda was fabulous. What a great voice!"

REVIEW by Neil Mudie for the Dundee Courier

Review of Kirkcaldy Gilbert and Sullivan Society’s production of Ruddigore:

Adam Smith Theatre, Wed March 4 – Saturday March 7

Even by the standards of Gilbert and Sullivan, Ruddigore has a ridiculous story line and creaky libretto – but it really doesn’t matter, as the famous patter trio says. The songs and music carry the show along on a tidal wave of melody.

Kirkcaldy G&S director Robin Ozog, who also played the parts of Robin Oakapple and Sir Ruthven Murgatroyd, chose to change the opening of the show, allowing Anne Balfour as Dame Hannah to set the scene. This she did, singing beautifully with very clear diction, giving those of us unfamiliar with the story at least a chance of following the plot. Her song was preceded by dialogue, giving us the unusual experience of a G&S production starting without music.

The bridesmaids chorus was on top form, led by Nikki Johnstone as Zorah. Nikki was one of a number of new young faces on stage – a very encouraging sign for Kirkcaldy G&S – and she sang and performed beautifully.

Another new face in the company was Scott Smeaton as Richard ("my heart calls me Dick!") Dauntless. He carried off the role effortlessly with a youthful tenor tone and fine comic touches.

Scott found himself playing opposite two G&S stalwarts. Linda Milne, as Rose Maybud and Robin Ozog have a vast amount of experience – and it showed. They brought real energy to the stage and sang and acted as we have come to expect.

Old Adam, Robin’s trusty retainer, was played by Ian Davidson. It was a delightful cameo and one of the highlights of the production. I thought he brought a touch of Mel Smith to the part – my companion through it was more Charles Laughton! His comic timing was absolutely impeccable.

For me, the highlight of the evening was Elaine Young’s Mad Margaret. From her first appearance (absolutely bonkers) through to the end of the show (still bonkers but just about under control) she was hilarious. Elaine also sang the part beautifully.

In Act 2 she teamed up with Robin Ozog and Robert Douglas Kerr for the ferociously fast "My Eyes are Fully Open" patter trio. No problem to these three old hands although there was a bit of local difficulty with the furniture – but it really didn’t matter.

Robert Douglas Kerr played Sir Despard with all the moustache twirling nastiness the part required and his easy baritone was a pleasure to listen to.

Ruddigore contains a scene which is difficult to pull off convincingly on the amateur stage. Ancestral paintings come alive and step out on to the stage to scare the wits out of Sir Ruthven. In this production it was managed magnificently with the aid of large individual portraits of each chorus member painted specially for the occasion.

After a bit of a wobble at the start of their big chorus the men settled down quickly and made the most of the creepy words and music.

As a green-faced Sir Roderic, Alastair Campbell led the eerie ancestors in "When the Night Wind Howls" one of Ruddigore’s best known numbers. It’s a tricky song and Alastair handled it well, coping with the added difficulty of being wheeled about the stage on a set of steps!

From the overture to the finale musical director John Howden had the orchestra well under control. Pleasing tempos and with sympathetic dynamics supported the singers without overwhelming them.

Apart from a maypole which threatened to topple into the pit and some "interesting" footwork from the men in the chorus, the opening night went off without a visible hitch. It was a very enjoyable night at the theatre. Well done Kirkcaldy G&S.

 

 

 

 

 

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© 2008-2010 Kirkcaldy Gilbert & Sullivan Society (KGASS) Registered Charity No. SCO11461