Iolanthe

This was a richly detailed production in an unusual performance space, and this report reflects the full experience from arrival to final curtain. 

A lovely evening was spent in Penwortham at St Leonard's Gilbert and Sullivan Group's production of Iolanthe at St Leonard's Church. As we arrived at the venue, we were delighted to see a parking space directly outside with a NODA representative sign in front of it. I haven't experienced this before, so it immediately felt like a thoughtful and welcoming touch. We were greeted by a young man who kindly removed the sign and invited us to park there.

As we stepped out of the car and made our way into the venue, I was greeted by Ellis Green, a very polite gentleman dressed immaculately in a cream tuxedo. He knew my name straight away, addressed me formally, handed me a programme and escorted us inside towards our seats. He explained that we were welcome to sit anywhere we liked but pointed out a seat reserved with a NODA representative sign, adding, "These are the seats we've saved for you, but please sit wherever you feel comfortable." It was such a warm and courteous gesture. He also kindly asked if we would like tea or coffee for the interval. Although we don't drink hot drinks, it was another lovely touch that immediately gave the evening a warm and personal feel.

We entered through the church entrance and I initially assumed the production would be staged in a church hall or traditional theatre setting. However, as we were directed to our seats, I realised the performance itself was taking place within the church auditorium. The seating remained as it would for a congregation, with audience members sitting where they ordinarily would for a Sunday service, while the staging had been constructed upon the altar itself. This isn't a traditional church setting but rather a more modern church space, with cream carpets and whitewashed walls. The altar consisted of a shallow, four-tiered stepped platform, also carpeted in cream, and I found myself curious as to how the production would work within such an unconventional space. Looking around, I couldn't immediately see stage lighting or a PA system, which again left me wondering how the evening would unfold.

The set itself consisted of traditional theatre flats depicting what I would describe as castle-like grey brickwork, painted with depth and detail to create a three-dimensional effect. There appeared to be a bridge stage right and a seated box or raised area stage left, with various entrances and exits incorporated into the design. What intrigued me most was that I couldn't fully work out where the cast would wait while offstage, as the altar appeared to extend right to the rear wall. The way the company had clearly managed to conceal and utilise the available space was incredibly clever. Special praise should go to scenic artist Caroline Stewart and the scenery construction team of Stan Pickles, Gerry Cox and Peter Wright, because this cannot have been an easy area to transform. Working around the tiered altar system and the fixed pews at the front of the church presented some obvious challenges, yet they had approached it thoughtfully and effectively.

As mentioned previously, this wasn't a conventional theatre setting and I was still wondering how immersed we would be without visible lighting rigs or a PA system. The performance began with an announcement, and I noticed it was coming through what looked to be a small smart speaker. I must admit that at this point I became slightly nervous. Knowing that there would be music and singing throughout the evening, I briefly wondered if all of the sound would somehow be coming through this speaker. However, the speaker then invited us to welcome Musical Director Margot Wright and accompanist Robin Stompford into the performance space. Both entered down the centre aisle of the church to warm applause from the audience. This was a lovely moment and something quite special, as audiences don't always get the opportunity to see and acknowledge the musical team, who are often hidden away backstage or within an orchestra pit.

Margot Wright took a seat in the front row and conducted from there, while Robin Stompford made his way to the piano. The performance then began with a short overture, lasting perhaps two or three minutes. It was a lovely opportunity for Robin to demonstrate his musicianship and set the tone for the evening. It was also at this point that I realised there would not be a full orchestra, but rather a solo keyboard accompaniment throughout the production.

As the house lights dimmed, the lights above the altar remained illuminated, naturally drawing our focus to the performance space. While I am usually a great admirer of modern lighting design and the atmosphere it can create, I reminded myself that this is a Gilbert and Sullivan production, written long before the age of LEDs and pyrotechnics, and so any lighting choices would inevitably be more restrained and practical in nature.

Almost immediately, little faces began to appear from various entrances around the set, and we were introduced to the fairies. Having not seen Iolanthe before, I came to the production with very little knowledge of the story, and I was immediately drawn into this world. Their entrances were performed with a playful, cheeky energy, peeking out from behind the scenery and instantly bringing a smile to my face. The fairies were portrayed by Dorothy Mapley, Caroline Stewart, Shirley Grimshaw, Jane Cranna, Ann Rochester, Helen Wood, Linda Dodd, Lorraine Edwards, Helena Juntunen and Sandra Maddocks. Within this ensemble, the principal fairies were Kathryn Greenwood, Caroline Stewart and Dorothy Mapley. It quickly became clear that the fairies functioned as a cohesive chorus, with the principals taking on slightly more individual lines of dialogue. Caroline Stewart, as Leila, stood out in particular. I thoroughly enjoyed her portrayal; her northern accent and sharp wit suited the character brilliantly and she brought a real spark to her performance.

The fairies then launched into song, and we were treated to unexpectedly beautiful harmonies. I can honestly say I was pleasantly surprised. Without sounding unkind, it was not necessarily what I was expecting, but sitting towards the back of the church with no amplification, I could still clearly hear the blend and individual vocal lines. Together, the fairies created a rich, well-balanced sound that filled the space beautifully. Their movement was equally engaging, as they pranced and danced across the staging with wands raised, fully embracing their roles. At one point, the principals used their wands to activate strands of fairy lights within the set. Personally, I felt this effect was not entirely necessary and did not particularly enhance the staging; if anything, it slightly lessened the overall visual impact, which was already strong in its simplicity.

Costumes, designed by Lucy Bunce (who also serves as Production Director), were elegant and well suited to the production. The fairies were dressed in matching burgundy gowns with satin detailing and delicate wings. Thoughtful touches such as floral headbands and subtle glittered faces helped reinforce their fairy identities. Each performer also carried a wand, cleverly designed so that the fabric at the top caught the halogen lighting, giving a subtle shimmering effect that worked very effectively within the space.

Next to enter the stage was the Queen of the Fairies, played by Amy Hardy. Amy portrayed the role with real regal poise and confidence. I particularly enjoyed the moments of interaction between the Queen and Leila, where she playfully adopted Caroline Stewart's dulcet northern accent, before quickly reverting back to her own more regal tone and delivery. It was a lovely comedic touch that landed well with the audience.Amy maintained a strong stage presence throughout, and her facial expressions were well suited to the character, clearly helping to define the Queen's authority, humour and charm within the ensemble. The fairies pleaded with the Queen to redeem the banished Iolanthe, a fairy cast out for the crime of marrying a mortal. Iolanthe was portrayed by Hillary Wilby, dressed in a flowing satin blue gown with silver and white draping and a delicate floral headpiece. I appreciated the subtle connection in the costume design, with the blue tones seemingly reflecting Iolanthe's life spent by the river during her banishment, cleverly tying in with the bridge element within the set design.

Hillary portrayed Iolanthe with grace and elegance. Whilst Amy Hardy's Queen brought authority and Caroline Stewart's Leila brought playful wit, Hillary offered a softer and more gentle presence, which suited the character well. Of course, a little imagination was needed in accepting that Iolanthe appeared younger than her son Strephon, with Chris Matthew being visibly younger than Hillary. However, we were firmly immersed in fairyland by this point and it was easy to embrace the world being created before us.

We were then introduced to Strephon, played by Chris Matthew. Entering the performance space, Chris initially appeared slightly nervous, which is understandable given it was opening night, and his delivery of lines was quite brisk. However, he quickly settled into the role and his pace became much more controlled and assured.In keeping with the Gilbert and Sullivan style, his tone and delivery suited the production well, and he began to find more rhythm and confidence as the scene progressed. There were some nice moments of light comedy within his performance, which were well judged and earned genuine laughs from the audience.

We were also introduced to Phyllis, played by Becky Kay, the love interest within the story. She is initially promised in marriage to Strephon, but chaos soon unfolds when she discovers he has not revealed his half-fairy identity. This revelation sets in motion the humorous conflict as the elite men of society compete for her hand in marriage. Becky portrayed Phyllis with elegance and poise where required, whilst also showing a more stern and determined edge when her character needed to stand her ground. Her vocal performance was a real highlight of the production. Her singing tone, at times operatic in style, resonated beautifully throughout the church and carried with clarity and confidence. Once again, a degree of theatrical imagination was needed during the scenes in which the Earls vie for her attention, with Becky being considerably younger than the gentlemen pursuing her hand. However, within the world of Iolanthe, this was easy to accept and did not detract from the enjoyment of the performance.

Then, seemingly out of nowhere, an entourage of gentlemen entered through the main entrance of the church auditorium directly to my right. At that moment, I fully appreciated why Ellis had suggested those particular seats. I had a perfect view of the entrances, exits and performance space around me. As the gentlemen entered singing, we were treated to the rich and resonant sound of the male chorus. The men processed and down the central aisle before joining the staging area, and their deep choral tones filled the church beautifully. It is always wonderful to see such strong male participation within amateur theatre, and seeing both a large male and female company gave a real sense of a society with a thriving community spirit and loyal following. 

The male chorus consisted of David Maddocks, Gerry Cox, Steve Grimshaw, Tony Edwards, Mike Bridges, Stan Pickles, Neil Saunders, Nigel Walker, Peter Wright, Shiva Karthikeyan and Phillip Mawson. Dressed in robes and crowns, the men looked smart in burgundy and blue tones, creating a lovely visual connection with the colour palette worn by the ladies. Throughout the production, the chorus of peers supported the principal male characters well and helped maintain the momentum and flow of the story. I was also delighted to see movement incorporated into their scenes. Although no choreographer was credited within the programme, I can only assume this came from Lucy Bunce's direction. The movement was not overly complicated or distracting, but rather subtle, effective staging that gave the men purpose and unity as they moved together across the stage.

Remaining with the gentlemen, we were then introduced to the Earl of Mountararat, played by Andrew Gardner, and the Earl of Tolloller, played by Chris Dodd. Both had a confident stage presence and their friendship and rapport felt genuine. As representatives of the upper classes and political elite within this satirical world, they worked effectively together and I particularly enjoyed some small contemporary references woven into the script, adding nods towards current political affairs and creating moments of humour that connected well with the audience.

Alongside the Earls we met the Lord Chancellor, played by Phillip Walsh. Dressed in a wonderfully fitting long grey curled wig and costume appropriate to both title and era, Phillip immediately established himself as a commanding presence on stage. This cannot be an easy role to learn, with a considerable amount of dialogue and lyrics throughout, so credit must go to him for mastering such a demanding script. There was one particular musical number where Phillip held the stage entirely alone and captured the complete attention of the audience. As the song progressed, its pace increased alongside the abundance of lyrics, making the performance all the more impressive. Whilst the prompt made a brief appearance, it was only momentary, and by the end of the number I almost wanted to leap from my seat and offer a standing ovation. Instead, I settled for enthusiastic applause and raised my hands in appreciation. Well done Phillip.

Continuing with memorable solo moments from the second act, we met Private Willis, played by David Maddocks. By this point, the set had been cleverly transformed during the interval to represent a governmental or royal setting, perhaps Westminster or Buckingham Palace. David portrayed the dutiful guardsman with warmth and charm, creating a character that the audience immediately took to. His solo number was another lyrically demanding piece, delivered with confidence and personality whilst maintaining the audience's complete attention. Because David had already built such affection with the audience through his characterisation, the solo carried even more heart and impact. I also particularly enjoyed the interactions between Private Willis and the Queen. The Queen's slightly flirtatious approach was played with humour and taste, creating some lovely moments.

Throughout both acts we were treated to beautiful renditions of the musical numbers. Considering Iolanthe is largely sung throughout, enormous credit must go to the cast for what must have been many long rehearsal hours. Recognition should also be given to rehearsal accompanist Amanda French alongside Robin Stompford for their musical support and contribution.

Lucy Bunce's direction made Iolanthe accessible and, at times, surprisingly relatable. The cast appeared extremely comfortable with both dialogue and music, which naturally put the audience at ease as well. Having Margot Wright seated at the front conducting also provided a reassuring presence, and it was lovely to occasionally catch performers taking subtle cues whilst remaining entirely within character. Margot's musical direction helped the cast sound beautiful. Strong harmonies and layered vocals could be heard throughout the church.

A production is never simply about those on stage, and acknowledgement should always be given to the many people working behind the scenes. Christine Hunter Hughes supported continuity, with Lavinia Colclough serving as Stage Manager. Thanks should also go to the refreshment team from St Leonard's Church, first aiders Alyson Fugler and Liz Maher (fortunately not needed), photographer Peter Allen and Phillip Walsh for producing the programme itself, which included a lovely nod to the society's history and a thoughtful remembrance of members no longer with us.

The cast may showcase the performance, but it takes an entire community to bring a production to life.

After the performance we had the opportunity to meet members of the society, production team and cast. Every person we met was welcoming, warm and genuinely delightful. A particular mention must go to Jane Cranna, who was absolutely full of life and energy. Even after performing for over two hours she was still buzzing around, making people laugh and bringing smiles to faces. To me, this perfectly summed up what community theatre should be, people enjoying what they do and sharing that joy with others. 

Reflecting on my evening with St Leonard's and thinking back to my initial thoughts regarding the lack of lighting and PA equipment, I quickly realised that neither were necessary for me to enjoy the production. The cast and creative team transported us into the world of Iolanthe through performance alone. I do wonder, however, whether future productions might benefit from exploring some simple theatrical lighting, not to create spectacle, but simply to enhance mood and atmosphere and help audiences become even more immersed in the world being created on stage.

This was my introduction to Gilbert and Sullivan, and I am delighted that this was the production that welcomed me into their world. From the moment I arrived to the moment I climbed back into my car (in my designated parking space) I found myself smiling.

Thank you for the invitation and for your warm hospitality. I look forward to seeing your future productions and celebrating your 50th anniversary year with you.

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