To celebrate the sesquicentenary of Gilbert and Sullivan and the ninetieth anniversary of the founding of the Gilbert and Sullivan Opera Victoria (previously the Gilbert and Sullivan Society of Victoria), a special event was held last night at The Show Room (a newly opened theatre space under the spire in the Arts Centre Melbourne), as part of Process Lab—an event series bringing together creatives from the Performing Arts industry to delve into the creative process of making contemporary work.
After an introduction by Simon Piening, the president of Theatre Heritage Australia, the night began with a talk by well-known actor, director, reviewer and radio presenter Diana Burleigh, followed by a concert performance of Trial by Jury by Gilbert and Sullivan Opera Victoria (GSOV).
Burleigh gave a fascinating history of W.S. Gilbert and Arthur Sullivan (G&S), enhanced by a slideshow of past production photos, excerpts from newspaper reviews and original musical programmes.
I had no idea that their works were performed in Melbourne as far back as the late 1870s, or that Trial By Jury had been performed at Pentridge Prison in Coburg in 1980 to an audience of enthusiastic prisoners who also built the set. The Plaintiff was played by Rachel Buckley, whose father was the Governor of the prison at the time.
Burleigh additionally touched on early copyright laws, James Cassius Williamson, Richard D’Oyly Carte, George Selth Coppin (if you want to know more about Coppin, you can purchase Simon Plant’s novel Entertaining Mr Coppin: An Australian showman in Civil War America here), GSOV success stories (which made her teary), her directing vision, the difficulties of staging productions in 2025 and stage performer Federici, who I was particularly interested in.
On opening night March 3rd 1888, the 30-year-old Italian baritone (who was cast to play Mephistopheles in Faust) suffered a heart attack during the opera’s final scene as Mephistopheles descends into hell. After the performance, the cast were informed that Federici had died, although confused, as they swore he was present during curtain call. Legend has it, if you see his ghost at the Princess Theatre on opening night, it is considered a sign of good luck for the production.
Over the years, people have reported seeing Federici sitting in the dress circle or on stage, while others have experienced mysterious lights or something invisible passing through the corridors.
The restaurant to the left of the Princess Theatre – Federici Bistro – was even named after him.
I wish I had taken a notebook – or stolen her notes – because Burleigh’s extensive knowledge of the history of the performing arts was as impressive as her long association with G&S. Internationally recognised as an authority on the works, Burleigh, who is also the Vice-President of Theatre Heritage Australia, has directed many operas in Australia as well as the International Gilbert and Sullivan Festival in the UK where she won both ‘Best Director’ and ‘Best Production’.
Following a brief Q&A from the audience, the large cast of twenty-seven took to the stage. Men dressed in smart suits sat on the right, while ladies in colourful period dresses and bonnets on the left, joined by conductor Catherine Bates and musical director Timothy John Wilson on piano.
Trial by Jury is a short, sharp operetta (or comic opera, as Burleigh explained) about a “breach of promise of marriage” lawsuit in which the judge and legal system are the objects of lighthearted satire. First produced in 1875, it initially ran for 131 performances and was considered a hit.
It was only the second collaboration between G&S, who went on to write such classic operas as Pirates of Penzance, HMS Pinafore and The Mikado, among others. Running appropriately 40 minutes, Trial By Jury is usually added at the end of other productions (most recently with GSOV’s October production of Jubilee at the Athenaeum Theatre 2). My introduction was at the end of HMS Pinafore, starring Anthony Warlow and David Hobson, as part of Opera Australia’s five-disc Gilbert and Sullivan collection released in 2005, and was immediately taken aback by its clever and joyful wit.
Admitting my fondness for his character after the show, Ryan Jacobs confessed that (and I’m paraphrasing) The Defendant is wickedly fun to play because he’s such an arsehole and doesn’t pretend to be anything else. And that’s what makes him such a fun watch too. A confident Jacobs showcased his comedic talents and character’s smarmy nature.
Then there’s The Learned Judge, another standout, who recounts he married a rich attorney’s ugly daughter for the career advancement, leaving her when he too became rich. While I’m used to Warlow’s truly revolting and overly creepy portrayal of the judge, Geoff Dawes played a much more subdued (yet equally brilliant) realistic version of the character.
Sam Hargreaves was also a commanding force as The Usher.
The lyrics in Trial by Jury are fast and frantic and while some coped better than others, the talented ensemble and cast handled its complexities with enthusiasm which was a joy to watch. I also can’t imagine the difficulties of going from a theatre with sets to a smaller rehearsal space (especially after sitting for an hour in the back of the room waiting to go on stage).
In all, it was a brilliant show and one I’m sure that G&S themselves would be proud to watch. It certainly far exceeded my expectations and fulfilled a long-time dream of seeing Trial By Jury live. Thank you GSOV for continuing to bring G&S’s brilliant words and music to life.
GSOV will be performing The Arcadians, Patience and A G&S Christmas Carol in 2026. More information and ticket sales are coming soon at gsov.org.au.
4/5 STARS
TINSEL and TAP SHOES 