H.M.S. Pinafore

On a triflingly tiny stage, and in a hall whose acoustics magnify sound with the fervor of a shower stall, a group from Harvard and Radcliffe is furnishing a first rate evening of Gilbert and Sullivan. With minor exceptions, the singing of both the principals and chorus is excellent, and even the less sparkling acting supplies in enthusiasm what it lacks in conviction.

Led by Barry Morely, who has been haunting G & S productions at Harvard long enough to be of proven worth, the cast is amazingly lusty and pleasant to hear. Furthermore, it shows great initiative and skill in presenting Trial By Jury as a curtainraiser. Under the banner of the Congregational-Presbyterian Student Fellowship most of the same group that has supported Morely in other productions is on hand. They all know their business, and make it a pleasure for the audience.

Because its shortness and rapid pace pose fewer staging and acting difficulties, Trial is the better of the two productions. When left to singing the whole company is quite superb, with clear diction, much gusto and a pretty sense of how to make funny lines seem just that. Morely shines in the Judge's role (and in his patter song) while Sara-Jane Smith plays the betrothed Angelina with giddy charm. Don Fern, one of the few Trial principals who does not also sing in Pinafore, makes up for an infinitesimal voice by rascally and slick acting as the defendant, Edwin. William Cowperthwaite as the Usher is the only other outstanding actor in the curtain raiser. His strong, clear voice and solemn scowl are quite suited to the part. Unfortunately he becomes too enamored of that particular characterization, and later in the evening, as the hideous Dick Deadeye, his performance is too stiff, his accent too clear and his manner (if not his body) too unbending.

After an intermission the serious work of the evening begins with a male chorus of well-blended voices opening HMS Pinafore. Morely is back as Ralph Rack-straw and Miss Smith sheds her bridal veil for the gypsy dress of Buttercup. They are again quite good, with Miss Smith a little weak on the acting end and Morely too conscious of how his spoken words have sounded in other actors' interpretations. Edward Morse, on the other hand, cuts loose from D'Oyly-Carte's version to create an interestingly stiff and proper Sir Joseph. Paul Sperry, while a bit awkward with the spoken word, has a cheerful and booming voice that sounds just fine. And Elizabeth Kalkhurst does Josephine with feeling and restrained vigor, if not animation.

But the chorus--male and female--is the true collective hero of the evening. As is proper, few specific members stand out--individualism not being a chorus virtue--but the passive acting, the grimaces, murmurs, smiles and frowns are well handled. And the singing is close to magnificent. Gerry Carrothers and Peter Duren, without being pushy about it, are especially good.

Probably the largest fault of the production is the lack of direction. Morely, besides designing the almost non-existant sets, was musical director, while Mary Arnold handled the acting. In neither case was the job really well done. With but a little more effort (or possibly luck) Pinafore could be as good as the highly competent Trial.