Sumptuous costumes, traditional sets and sparkling choreography are the hallmarks of Oxford Operatic Society's production of The Gondoliers, which opened at the Oxford Playhouse on Monday. As always, the cast's enthusiasm shines through, and the orchestra directed by Michael Evans and led by the ever-reliable Mariette Richter contributes a strong, robust and flawless accompaniment. But, despite all this, the production disappoints in a number of ways.

Firstly, there is simply too much movement throughout; at times, it would be far more effective theatrically to slow the pace down a little. The choreography is patchy, ranging from fun and lively to plain daft. The quintet Try we life long was particularly messy on the opening night, as the singers struggled to cope with the excessive demands made of them. Similarly, the chorus is too busy, not helped by the fact that the ladies' chorus is really too big, so that the stage seems overcrowded. The ladies also need to try and sing as a cohesive unit; I heard far too many individual voices coming through.

The principals need to inject more vitality into their acting, and enunciate their dialogue more clearly and convincingly. Vocally, Martha Skipper and Charlotte Sayers are outstanding as Casilda and Gianetta respectively, but I didn't sense any of the passion that's supposed to exist between them and their loved ones (Andy Blagrove and James Studds). Jonathan Cooper, a successful Mountararat in Iolanthe 18 months ago, seems out of his depth as the Duke of Plaza-Toro.

But Tim Younger's Guiseppe is full of energy and joie de vivre, and he is well matched by Nicola Ball's mischievous Tessa. Mary Ross sings and acts strongly as the Duchess of Plaza Toro, but Keri Williams's fun portrayal of Don Alhambra was marred on the opening night by his frequent forgetting of his lines.

The Gondoliers continues at the Playhouse until May 20; box office 01865 305305.