New works in the operetta genre are quite uncommon, making the efforts of Scottish Opera to highlight this form during their summer season noteworthy. The opera house has not only spotlighted operetta but also commissioned a new piece to accompany a classic. A Matter of Misconduct, currently showing at the Theatre Royal in Glasgow, takes place in the press room at Downing Street and revolves around a clumsy politician embroiled in a party leadership contest.

Emma Jenkins’ libretto draws inspiration from Armando Iannucci’s acclaimed series The Thick of It, delivering a sharp critique of political blunders and human imperfections. The cast includes Jamie MacDougall portraying a foul-mouthed Scottish spin doctor. Jenkins crafts witty lines—such as the memorable rhyme of “Royal Highness” with “vaginal dryness”—yet this bracing energy also poses challenges in balancing the work’s tone.

The biting humor often overshadows the joviality that is characteristic of effective operetta satire, and Toby Hession’s musical score suffers from the lack of sympathetic characters. While Hession expertly orchestrates zany, vibrant musical elements that complement the libretto, the vocal writing lacks distinctiveness.

Kira Kaplan’s striking soprano as the lawyer stands out with impressive flair; however, the musical profiles of the other characters blend into a murky array of unpleasant traits. Even Ross Cumming’s charismatic performance as the deputy prime minister cannot elevate his character beyond the shared negativity of the setting, where the music emphasizes their ickiness rather than any endearing flaws.

Interestingly, this new operetta is overshadowed by a classic: Gilbert and Sullivan’s Trial by Jury, which is celebrated for its compact brilliance, delivering a wealth of clever melodies and characterizations in just 40 minutes. This proven success resonates more with the audience.

Director John Savournin offers a fresh take on Trial by Jury, reimagining it as a lively Jerry Springer-type television show that features a contentious couple and an animated audience. Both pieces share the same sets that Savournin uses in his parallel production of The Merry Widow, but Trial by Jury effortlessly showcases the charm that Laura Attridge’s production of Misconduct struggles to achieve.

Despite Richard Suart’s diminished vocal powers, he embodies the role of judge with a whimsical flair reminiscent of Bruce Forsyth. The Misconduct cast effectively fills other Jury roles with impressive zeal, and the orchestra—under Hession’s baton—does an exceptional job of underscoring the subtleties of Sullivan’s score, particularly capturing the striking basses at the judge’s initial entrance. The overall conclusion? Gilbert and Sullivan prevail, yet the evening remains an enjoyable experience. ★★★★☆ 130min Theatre Royal, Glasgow, until May 16; Edinburgh Festival Theatre, May 30 & June 6; Opera Holland Park, London, June 24 & 26.