Iolanthe

Iolanthe is a comic opera and a witty satire on the House of Lords, British legal system and Victorian attitudes to marriage and status.  This production was performed as a concert in the beautiful gothic surroundings of St Wulfram’s church by the talented team of Grantham Operatic Society.

Musical director Elaine Bishop has created an entertaining rendition of the Gilbert and Sullivan classic which appealed to stalwart supporters of the operetta and newbie audience members alike.  Through the clever use of a narrator, Diane Hale (with script editing from Elaine) we had an introduction and synopsis of the action so far. This resulted in a pacy production, and the stripped-down style highlighted the musical talents of the principal performers and ensemble.  

Talented accompanist Samantha Kerby-Hall played the grand piano giving the musical accompaniment a ‘stripped-down’ feel and certainly gave a fantastic performance hardly taking a break from the relentless score tackling the varying musical styles with ease while allowing the singers and principals to shine.

The story tells of Iolanthe, an immortal fairy, who has broken fairy law by marrying a mortal and has been in exile for 25 years.  She has a son from this relationship, Strephon a humble Arcadian shepherd who is a fairy but mortal below his waist who has fallen in love with Phyllis a ward of chancery. Throw in the Queen of the Fairies and some bumbling peers of the realm who all have designs on Phyllis themselves and you have a clash of mortals and immortals -the common-sense fairies and the dim-witted pompous peers resulting in a comic operetta full of misunderstandings in typical topsy turvy Gilbert and Sullivan style.

The ensemble remained seated throughout the dialogue and solo songs allowing the principals to tell the story, but then stood for the ensemble numbers. The ladies each wearing a hint of blue to represent their fairy status and the gentlemen, smart in tuxedos sporting a red sash representing the peers. 

The regal Queen of Fairies (Helen Gray) held court over fairyland brandishing her staff of power, and she managed to evoke a powerful yet empathetic character.  I loved her playfulness as she fondled Sergeant Willis’ bearskin hat while fervently insisting that she could resist his charms.  Suzanne Webb as the rebellious Iolanthe played her part well and her relationship with Strephon was lovely.  Tom Fletcher was good as Arcadian Shepherd Strephon delivering his lines with wit and his duets with Phyllis were delightful.  David Wright as Sergeant Willis the Sentry performed well marching into position in his red uniform to perform his song. 

I especially liked the ‘bromance’ of the affected Earls Tolloller (Keiran Owen) and Mountararat (John Palmer) posing petulantly as they refused to fight over Phyllis putting their friendship first even skipping off holding hands!  Their witty characters provided much of the humour and they had good voices working well together.  The fairies Celia (Evie Nesbitt) and Lelia (Kat Barr) sang sweetly while swooning over the Earls, stamping their feet with frustration while simultaneously begging them to stay.  

Special mention to Anna Fedenko as the feisty Phyllis.  Anna acted with her whole body to tell the story simpering coquettishly at the attentions of the peers or showing her anger through crossing her arms and pointing furiously as she caught Stephon in an apparent infidelity.  She has a beautiful voice singing effortlessly with a sweetness that echoed beautifully around the church.

Most Gilbert and Sullivan operettas have their patter songs - a furious rendition of complex lyrics delivered at breakneck speed - and here it is the Lord Chancellor who performs them.  Adam Bishop was wonderful in the part of the pompous, snobbish Lord Chancellor, gambolling gleefully around the stage even executing a perfect heel click!  Adam was the comedy heart of the show and played the part with wit and camp humour.  His delivery of the patter songs ‘When I Went to The Bar’ and the nightmarish ‘Love Unrequited’ clutching his teddy bear, were excellent handling the tricky lyrics with ease, even manging to add some appropriate choreography.  I also loved his witty dance number with the Earls Tolloller and Mountararat.

Costumes and set were basic with the principal fairies sporting lacy turquoise wings and a lovely ethereal floaty dress for Iolanthe, the Lord Chancellor had a long grey wig to show his status and sat on an ornate wooden chair. The performance was on a two-tiered platform allowing each member of the ensemble to be seen while providing a small stage for the principals to perform on.

Well done Elaine for this lovely production that was easy to follow and very entertaining. You supported your cast beautifully and tactfully and all the hard work rehearsing for this event was very apparent. I am also pleased to confirm that the programme and flyer (designed by Ben Atkinson) qualify for next years’ programme and poster competition.

Thank you once again, for the lovely warm welcome and the chance to meet the cast afterwards and newly appointed chairperson Samantha.

© NODA CIO. All rights reserved.