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.
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 voices individually and collectively soar joyously – and sometimes a little too loudly in this intimate theatre – but even among this talented company there are some stand-outs. Daniel Cane effortlessly steals his every scene with a gloriously over-the-top and highly physical portrayal of Shakespearean actor Walter Wilkins. Nichola Jolley’s Jill-All-Alone is full of pathos and vulnerability among her clever retorts, while Sir Walter Raleigh is played with authority by Michael Riseley.
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
