Iolanthe

When attending a Kirkcaldy G&S Society performance directed by Robin Ozog be prepared for any number of innovative quirks during the show – and Iolanthe is no exception!  The operetta (updated to 1920) begins with three fairies looking at photographs of themselves taken between 1917 and 1920. When their Fairy Queen became aware of the photographs she was furious and bade the three all lose their youthful looks. A plausible reason to include some not-so-youthful fairies in the chorus of this show. It should be noted that I have seen several Iolanthes that include even less-youthful fairies than we are treated to tonight!

Act One opens with a chorus for the ladies, performed well under the baton of John Howden, who always manages to bring out the best from his casts. Very soon we are introduced to the Fairy Queen (Elaine Young) – her Invocation sung and performed with all the authority necessary for this role.  Iolanthe (Caroline Warburton) is charming in the title role and performs well with her son Strephon, performed to perfection by Michael McFarlane. Strephon, an Arcadian shepherd, is portrayed in this production as more of an Arcadian Dandy!  Strephon is in love with Phyllis, played with tenderness and feeling by Linda Milne whose G&S acting ability is always evident, not least when she finds Strephon embracing his “young” mother, Iolanthe.

The Peers enter to their rousing chorus “Loudly Let the Trumpet Bray”, here dressed not in their robes and ermine, but rather in Plus Twos & Fours having just returned from a duck shoot. Again, compliments to MD John Howden on encouraging the quality of singing from the gents chorus (not to forget the occasional cross-dressing lady who has obviously joined them on the shoot!). The Lord Chancellor (Colin Stubbs) enters and we learn of the hardships of this stressful job in “The Law is the true Embodiment”. Act One concludes with what, arguably, must be the best of all the G&S Act One Finales. Twenty minutes of hard vocal work for most of the cast, leaving the audience heading for a well-earned refreshment on their behalf.

In Act Two we move from an Arcadian forest to outside the Houses of Parliament where we meet Private Willis (Dave Smith) of the Grenadier Guards. His introductory number giving us an insight into the feelings of a minion at Westminster. Private Willis – one of the Gilbertian characters who lays claim to only one solo – makes the most of his acting ability when approached by the Fairy Queen, acknowledging to her fairies, her own weaknesses. “Oh, Foolish Fay” allows us to see a different side of Elaine Young’s Fairy Queen, but, nevertheless, stll vocally imposing.  Here follows the operetta’s patter song “When You’re Lying Awake” ably negotiated by Colin Stubbs. Throughout the operetta Lords Mountararat and Tolloller (Andrew Sim and Robin Ozog respectively) make valued and characterful appearances, and, joined by the Lord Chancellor, form a humerous trio in “If You Go In”.  A dire end for all the fairies and peers is finally resolved by a change of wording by a politician (Is that not typical?) and the fairies and their new husbands all head off to Fairyland!

Congratulations to all for a most enjoyable show!

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