It’s the year 1750, and there is chaos in Venice. A six-month old baby girl is married to royalty only to grow up and find out no one knows who her real husband is. The two men suspected of being her husband have already wed, and the man she is actually in love with is not even close to being royal or wealthy.
Those artists who can engage our high, middle and low brows simultaneously are rare beasts, and their appeal endures. Two people who had the gift were the librettist W.S. Gilbert and composer Arthur Sullivan, whose extraordinary 20-year-run in the late 19th century dominated the popular theatre on both sides of the Atlantic and paved the way for the modern musical.
Jacksonville University’s theatre department hosted its own production of “The Gondoliers” on April 13, 14 and 15 at 7:30 p.m. in the Swisher Theatre. Robert Tudor, Ph.D., directed the play with the utmost creativity while the JU actors and actresses acted, sang and danced brilliantly.
Venice was once called “La Serenissima Repubblica,” the Serene Republic. Appropriately, this production of “The Gondoliers” is serenely civilized, and all its talents converge to make this so.
The Duke and Duchess of Plaza-Toro (Stephen Michael Johns and Raquel Lopez) betrothed their baby daughter Casilda (Maggie Moore) to the infant son of the King of Barataria. But the lad was spirited to Venice, and may actually be one of two gondoliers, brothers Marco (Erick Crow) and Giuseppe Palmieri (Zeek Smith). It turns out that The Grand Inquisitor, Don Alhambra del Bolero (Alec Hadden), had a hand in the kidnapping. The grown Casilda and her folks urge both Italians to rule until it can be determined which is the rightful heir and the presumed future husband, but the brothers just got married to other women.
The artful play was enjoyed by the crowd as they applauded after every song and dance. It does not bully with noise. The singers were not amplified. The dances were graceful, witty without being clever, buoyant without being athletic. The tone throughout was intimate, light and lyrical. A feeling of concord flew across the footlights. No self-assertion, no sore thumbs.
The cast is uniformly commendable, and Hadden, Lopez and Smith were outstanding. Their lines were sung with the maturity and emotion one expects from potential Broadway performers. Gondoliers includes a few scenes and tunes that easily harken back to their predecessors, and the lush orchestra plays music just as ornate as those of all the other Gilbert and Sullivan operettas.
The current production included beautiful sets that transported viewers to romantic Venice and fantastical Barataria, complementing the cast’s bright costumes. The Italian peasant girls’ costumes were so bright and cute, they sometimes seemed more Dutch than Italian. With a good sized chorus there’s certainly a lot to look at on the busy stage during ensemble-predominate songs.
One surprise in the cast was Maria Gonzales, instructor of Spanish at JU. She played Inez, the king’s foster mother who identifies the real king at the end of the play, bringing a twist and end to the colorful performance.
A fun but predictable turn of events gives the comedy its hilarious climactic ending that leaves the characters just as happy and content as the audience. The musical does not feature as much pattering or laugh-out-loud humor as one might expect, but it fully delights with its lovely cast and familiar Gilbert and Sullivan sounds. Anyone who loves music theater or opera must love, or at least appreciate, Gilbert and Sullivan, who provide a pleasant mixture of the two.
JU’s production of “The Gondoliers” was surely a job well done.





