Gilbert and Sullivan’s Trial by Jury is a brief work demanding a companion piece. Scottish Opera’s response was to commission a new opera from Toby Hession, A Matter of Misconduct! fitting the bill perfectly, its world premiere a sparkling modern riposte to the dusty Victorian courtroom satire. Lifting the lid in the Downing Street Press Room as a political storm rages, a cast of characters we all know too well provides delicious enjoyment. A couple of stalwarts aside, this double bill is a tremendous showcase for Scottish Opera’s emerging artists, the performances here promising a very bright future.
When Trial by Jury was written, 150 years ago, a man calling off an engagement to a woman could be legally required to pay her compensation through ‘breach of promise’. On her wedding day, Angelina arrives at the Court of the Exchequer with her bridesmaids to seek recompense from her fiancé Edwin, who has become bored and found someone else. The Jury hate the defendant on sight, and the doddery Learned Judge confesses that he only achieved his position by marrying a rich attorney’s ugly daughter, ditching her once he was wealthy. It is a period-piece spoof, the production team’s luxurious costumes and colour brought to vivid life under John Savournin’s direction and Kally Lloyd-Jones' organic choreography. The courtroom design by takis is functional, jury blocks and judge’s bench movable to accommodate the several set pieces.
Savournin reimagines the setting as a reality TV recording session, Edward Jowle as the Usher drilling us, the studio audience, before ‘going live’, then attempting to keep the exuberant choruses, including six energetic bridesmaids, in order. A strong ensemble cast had a spirited Kira Kaplan as the jilted Angelina, Chloe Harris as Counsel for the Plaintiff, her gorgeous mezzo a highlight in “May it please you, my lud!”. Ross Cumming was a robust Jury Foreman and Scottish Opera stalwart Jamie MacDougall a slippery defendant. Gilbert and Sullivan veteran Richard Suart was the wayward judge, his patter slightly wayward these days, but his character full of comedy. The work calls for a busy chorus, the Jury in a range of 1990 clothes, the bridesmaids in outrageously purple flouncy frocks, all moving naturally while singing with crystal clarity. For all the updating and musical panache, it’s still a fusty tale as the leery ancient judge casts off his wig and gown and heads to the altar with Angelina.
Happily, we have moved on to more enlightened times… or have we? A cast reshuffle for A Matter of Misconduct! sees us in Downing Street, Kira Kaplan as Sylvia Lawless, from Lawless, Lawless, Lawless & Crook, warning that mud sticks unless you can find the fees to pay someone like her to remove it. Deputy Prime Minister Roger Penistone films a promotional video to boost his party leadership bid in a dirty campaign and is miked up for a live link to Loose Women in which he will feature with Cherry his wife, a wellness guru. A Government Advisor bursts in with the news about to leak of scandalous emails incriminating Roger and Cherry. It’s time to call Sylvia who lays out a plan for rescuing the situation, but not before enormous fun is had in a truly ensemble piece, the political shenanigans building alarmingly, driven by MacDougall as an operatic ‘Thick of it’ Advisor and Jowle’s hapless Press Secretary. Emma Jenkins’ whip-smart libretto had us laughing out loud, talk of a dodgy motorhome purchase hitting the spot perfectly. With the sudden illness of the Prime Minister boosting Roger’s position, but also a mic inadvertently left live, can Sylvia recover the mess?
Musically, it works a treat, Hession’s filmic score is peppered with lively orchestrations and colour, a central husband and wife number with Cumming’s Roger Penistone and Harris’ Cherry is almost Sondheim-like, while Cherry’s fateful day at the races has a gorgeous jazzy sleaze. Elsewhere there are nods towards John Adams. It’s a pacy score and not always an easy sing. Kaplan’s bright soprano led the way, her character several steps ahead of the flailing political mêlée. The lusty chorus of public servants and a greedy press pack sang their hearts out, director Laura Attridge keeping things lively.
Hession was a Scottish Opera emerging artist in 2021-22 then recruited onto the music staff. Under 30 and conducting both operas with skill and confidence, I look forward to what he does next.
