The idea of a freshers’ show, it seems, is to involve as many new students as possible, have a laugh and make some friends. At the end of the process, the public gets to see the mere formality which is the show itself, and to enthuse about how fun it has all been.

The Gilbert and Sullivan (G&S) Society presented their freshers’ version of The Gondoliers at the Robinson College Auditorium. Brimming with fresh faces, nerves and excitement, the evening bumped along as expected – presumably with as much drama and hysterics backstage as there was out front. The setting was simple: a mostly blank stage with the orchestra in full view. Michael Morrison’s set was effectively minimal with limited furniture to set the mood, and the odd prop or two (notably a pair of mismatched but wonderfully cute toy ducks). Despite the limited space, the movement and choreography were handled well by director Anna Smith. Costumes were colourful and complemented by the hair and make-up design, all under the responsibility of Gwen Davis and Natalie Reeve.

The tale is of two brothers, who work as gondoliers in Venice. In typical G&S fashion there is a mix-up over identity, some star-crossed lovers and many peasants singing in harmony on the green. One of the brothers may or not be the next king, and through duets, quartets , quintets and the occasional dance, the mystery of the identity is enthralling and resolved just in time for the final chorus.

Meanwhile there is plenty of opportunity for the cast to show what they can do: Thomas Stell and Jonatan Rosten as the titular gondoliers have voices that blend well, with Rosten having a particular flair for comic timing. Richard Mifsud as the Don Alhambra clearly enjoys being able to indulge in the humour of his speeches. Tiffany Charnley as Gianetta totally embraces the joy of G&S both in her beautiful singing and her strong acting: I am sure that we will see more from her in future G&S productions. Equally, Eleanor Thompson as Casilda had a quality of voice and playful charm that made her stand out.

Musical direction is by Bryn Reinstadler, and it is a big undertaking to keep control of the orchestra and the singers – particularly when the singers cannot see her directly. She steered a steady ship through some choppy waters. Everyone involved gained confidence throughout, and by the second act the singing, playing and acting had warmed up. The chorus in particular appeared to relax into the performance and deliver more strength in the latter parts of the show.

Sullivan’s music is deceptively complex, and the harmonies and timings are rather unforgiving of any straying by singers or musicians. Equally, Gilbert’s lyrics proved a little too much of a mouthful on occasions. More rehearsal and a deeper understanding of the nuances of the style will build the performing ability of this inexperienced group. And, if (as it should be) a freshers’ show is for the fun of the freshers involved, then The Gondoliers appears to have succeeded