Merrie England

Edward German and Basil Hood's Merrie England is the epitome of rollicking good fun - light, frivolous, old-fashioned yet timely, and packed with witty songs, charming countryfolk and aloof courtiers. Written in 1902 and last performed in London in 1960, this comic opera has now been dusted off by the Finborough in celebration of the Queen's Diamond Jubilee as part of their "Celebrating British Music Theatre" series.

Fitting a cast of 21 into the Finborough's compact performance area isn't easy but director Alex Sutton somehow creates space along with pace. From the opening, with the crowning of Jamie Birkett's May Queen, through the unfolding of the slight plot involving sub-Shakespearean characters losing and finding love, to the rousing finale, the cast perform with gusto and then some.

The parallel plot about the violent treatment of those deemed to be witches by the fearful countryfolk gives the production some edge and there's a bit of history in the relationship between the Queen and the Earl of Essex. But these are broadly comic characters, not intended to be taken seriously or historically. This Queen Elizabeth (Virge Gilchrist) is closer to Blackadder's version of comedy queen - spaced-out, crown askew, never quite knowing whether to join in with the songs about herself.

“
The cast perform with gusto and then some”

Comparisons with Gilbert and Sullivan are inevitable as it's very much in that style of light opera, but Merrie England has its own peculiar charm in its sunny depiction of an England that never existed.

At times there's a bit too much eyes-and-teeth acting, but this is a terrific production, deserving of a larger stage.

- Carole Gordon