In the Gilbert and Sullivan canon, Princess Ida, first presented at the Savoy in 1884, is not one of the perennial favorites. It has some built-in deterrents: Based on Gilbert's blank-verse burlesque of Tennyson's popular 1847 poem "The Princess," it is the only G&S work with dialogue written in blank verse and the only one of their comic operas to have three acts. On the positive side, the libretto satirizes some of the hot topics of 1884 still unhappily relevant today: feminism, women's education, and Darwinian evolution.
With evolution denial still in the air in 2008, it's good to hear a female chorus singing, "Man at best is only a monkey shaved." And even if Gilbert drops the ball badly in Act 3, along the way Sullivan has provided some lovely music to be sung. Here given by the New York Gilbert & Sullivan Players under the direction and baton of Albert Bergeret, both pros and cons are on display. With its huge cast, the production is sometimes downright ungainly, but there are special moments of beauty and humor to be savored.
Prince Hilarion (Colin Fitzmaurice), the son of King Hildebrand (Keith Jurosko), has been married in babyhood to Princess Ida (Kimilee Bryant), daughter of King Gama (Stephen Quint). The princess, however, has set up a college for the education of women from which all men are barred. Evidence of the college classes are given by the ambitious Lady Blanche (Dianna Dollman) and the humane Lady Psyche (Shana Farr). Hilarion and his friends Cyril (Patrick Hogan) and Florian (William Whitefield) infiltrate the castle and form attachments prior to a full-scale invasion in which the battle of the sexes becomes literal.
With almost 30 songs and choruses, some of Gilbert's golden words do get lost, but most of the singing is pleasingly good, led by Bryant's attractive Ida. The string of songs in Act 2 that begins with "The World Is but a Broken Toy," sung by Bryant, Fitzmaurice, Hogan, Whitefield, and Farr, proves to be the highlight of the performance. Both Quint and Jurosko take the stage when allowed and do well by their patter songs. Bergeret, in his inimitable fashion, has added some judicious contemporary touches, including tap-dancing soldiers and a witty reference to West Side Story.
Presented by New York Gilbert & Sullivan Players
at New York City Center, 131 W. 55th St., NYC.
Jan. 4-12. Remaining performance: Sat., Jan. 12, 8 p.m.
(212) 581-1212 or www.nycitycenter.org.