Iolanthe

Arriving in the picturesque village of Burwell, with the mill on the horizon as a backdrop, and settling into my seat at the Gardiner Memorial Hall, I felt transported into Gilbert & Sullivan’s enchanting world of Iolanthe.

During the interval, I had the opportunity to chat with director Lucas Elkin. It turns out that this was the group’s first time using the hall, and they managed to stage the show on a shoestring budget—with most of the funds allocated to lighting and venue hire. Despite these constraints, the performance resonated with the full house audience. Kudos to Lucas and the team for their tireless efforts. Creating magic without a hefty budget is no small feat. Let’s hope this success paves the way for many more productions in the future!

CLOG’s objective of continuing the spirit of G&S staged, performed and produced by the local community was well met.  While most of the cast demonstrated thorough rehearsal, the occasional slip-ups added delightful comedic moments. One seasoned cast member, bless his heart, found himself a bit lost in all the choreographed numbers—yet, in a charming twist, it somehow suited his role as the oldest of the peers.

Sally Goldsmith (Iolanthe), Caroline Dyson (the Queen), and Caille Peri (Phyllis), the principal female performers, delivered powerful renditions that aligned perfectly with my expectations for a G&S production. Their lyrical songs, each highlighting an impressive vocal range, resonated beautifully. Caille’s stage presence was nothing short of captivating—I couldn’t tear my eyes away. And well done to her for the choreography as well, which was perfect for G&S!

Regrettably, due to my proximity to the musicians, it was difficult to hear many of the female soprano vocals, particularly when both the vocals and music reached crescendo together. Whilst I knew the basic story of Iolanthe, some the detail was lost as I simply couldn’t hear the words. Perhaps CLOG's could explore investing in amplification or, if remaining at this venue, consider adjusting the musicians’ placement—perhaps behind a screen.

Balancing the female performers, an equally robust male contingent graced the stage. Thankfully, the male operetta voices held their own against the musical backdrop. Alec Buchan (Earl Tolloller) and Lake Falconer (Earl of Mountararat) complemented each other seamlessly, with Alec seizing every opportunity to showcase his remarkable tenor operatic voice. Ariel Cahn (Strephon) held his ground opposite Caille, but I’d have loved to see more eye contact—his tendency to look past her during every duet was distracting. Paul Murray John (Private Willis) kicked off Act 2 with uproarious humour, even if he stumbled over his words momentarily. However, the true tour de force was Peter Coleman, seemingly born to be a Lord Chancellor in the world of G&S. His rendition of The Nightmare Song left both him and me breathless—a genuine ‘operettic’ rap. Bravo!

Despite my earlier comments about the music volume, I must tip my hat to Cleo Loi’s remarkable musical prowess as MD. She seamlessly transitioned between the piano, violin, recorder, triangle, snare drum, and conducting—a performance in itself. There were moments when I found myself utterly mesmerized by the musicians, almost forgetting the show unfolding before me—another argument in favour of having some sort of screen.

Congratulations to everyone involved! Despite the sound challenges, I genuinely enjoyed this production and eagerly await what CLOG's has in store for next year.

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