Iolanthe

Iolanthe, the seventh collaboration of Arthur Sullivan and W.S. Gilbert opened at the Savoy theatre London on 25 November 1882. It ran for 398 performances and was the first new theatre production in the world to be lit entirely by electricity. Gilbert’s writing about pertinent issues of the day are as relevant today as they clearly were then. Add to this the brilliance of Sullivan’s music and you have a show which has survived time.  

Since it opened Iolanthe has had revivals and has been performed by numerous amateur companies throughout the world.  Almost 134 years after it opened Worcester Gilbert and Sullivan Society performed this popular operetta having last performed it in 2005. 

The musical numbers were well delivered by both principals and chorus.  Many were done in keeping with tradition such as the skipping during “If You Go In” and the peers opening march. Radio microphones were not used by anyone. It is good to able to report that every word of the songs could be heard including the company numbers. The libretto was clearly delivered by all those with lines although there was some stumping over words at times.  

There were some good individual and collective performances however it is not possible to mention everyone by name. The show opened with the female chorus as a group of fairies singing “Tripping Hither, Tripping Thither”. They most certainly portrayed a group of very despondent fairies some 25 years after Iolanthe was banished after marrying a mortal, and were eloquently led by the Fairy Queen played by Mary Dhonau.  The role of Iolanthe is quite a small part and only has one song. Nevertheless, the part was carried out well by Meriel Ford. Paul Blower as Strephon was well matched with Bev Butler as Phyllis in songs such as “None Shall Part Us” and during their dialogue together. Michael Faulkner, as Lord Chancellor, played the part with great confidence and as always manged “Love Unrequited Robs me of my Rest” with good diction and, with his actions, portrayed his nightmare to the audience.  Mark Tooby as Lord Mountararat sang “When Britain Really Ruled the Waves” with confidence and was well supported by Nigel Smith as Lord Tolloller. Paul Allsop as Private Willis is worth a mention. He sang the open number of Act Two “When All Night Long” with feeling producing a cup of tea and later a tea pot from his sentry box. 

A small orchestra consisting of only keyboard, piano and percussion did not detract from the score other than during the overture when the lack of instruments was noticeable. The responsibility of musical director was temporarily handed over to the assistant MD when Mike Dhonau put down his baton to join the male chorus for “Loudly let the Trumpets Bray”.  This number highlighted the shortage of men in the society like many others. The number of peers was swelled by someone who look remarkably like Berny Murray the societies chairman, whoever you were well done! 

There was little set for this production. Images of a woodland, a storm and the Palace of Westminster were projected on to a screen upstage. Add to this a bench, two toadstools and a sentry box.  Although simple these were sufficient and worked. 

Costumes worn by the fairy female cast were a combination of those from the societies wardrobe and others made for this production. These were effective especially the Fairy Queen’s. Each female cast member had a coloured wig matching the costume and glitter make up. The male chorus and principals were in line with the expectations of the show.       

An enjoyable evening’s entertainment. Thank you to all at Worcester Gilbert and Sullivan Society and I look forward to your Good Old Days Music Hall scheduled for next year    

Andy Brown Regional Representative district 12 on behalf of Bruce Wyatt. 

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