Princess Ida

On Friday 14th March, I was very pleased to be invited to my first Gilbert & Sullivan production in my tenure as District 2 Representative — Princess Ida, presented by Preston Gilbert & Sullivan Society. The performance took place at Preston Playhouse and was supported by a large and enthusiastic audience.

Gilbert & Sullivan’s Princess Ida is a witty and satirical comic opera that delights in poking fun at gender roles, higher education and lofty ideals. The story centres on Princess Ida, who, in a childhood arrangement, has been betrothed to Prince Hilarion. When the time comes for them to marry, Ida has other plans — she has founded a women’s university, dedicated to the principle that men are inferior and best kept at a distance.

Undeterred, Hilarion and his two friends, Cyril and Florian, disguise themselves as female students to infiltrate the university and win Ida’s heart. Their presence is soon discovered, causing outrage among the faculty and leading to a warlike confrontation between Ida’s followers and Hilarion’s father, King Hildebrand.

Amid the chaos, satire abounds — skewering not only the battle of the sexes but also Victorian ideals and academic pretension. As in true G&S fashion, hostilities give way to reconciliation, and the operetta concludes with wit, warmth and a gentle reminder that love will usually have the last word.

The first thing to say about the production itself is that I have rarely witnessed such a magnificent example of group choral singing. This was a traditional production, meaning that the performers worked without microphones. Initially, I wondered how this might work in a modern theatre space, but I needn’t have worried. Preston G&S hit us with an almighty wall of sound which completely caught me off guard, and put to bed any concerns about whether or not I’d be able to hear the nuance of the music. Truly impressive stuff, and I would urge any other sceptical performers to go along and see just what can be accomplished in a “traditional” performance — you’re in for a pleasant surprise!

This production was led by Stage Directors & Producers, Sue Hurrell and Merle Winstanley, and Musical Director, Rob Rainford. Together, they created a fascinating visual world for Princess Ida, which was bright, colourful and visually appealing. It was clear the performers had been well led throughout the rehearsal process — everyone knew exactly where to be and what they needed to be doing, leading to the creation of a largely seamless production. Dance Captain Becky Kay had done sterling work too, and although the production wasn’t packed with dance numbers, what we saw was creative, engaging and very much in keeping with the aesthetics of the piece.

The set was designed by Philip Walsh and Peter Wright, supported by the construction team of Kevin Hesketh, Carl Donohue and Mark Rawlinson, as well as Scenic Artist Ann Cooper. Their set was beautiful and functional, with many fine details and no stone left unturned. Wonderful work from the whole team! The set was further brought to life by excellent lighting from Antony Leadbetter, whose work was seamless and creative throughout (even more impressive when one notes that he was also responsible for sound).

Costume and make-up in this production worked wonders in helping to set the scene, and felt entirely appropriate for the piece. The time period of the narrative was respected in the choices made, but there was still plenty of space for pops of colour and vibrancy that looked wonderful on stage. Congratulations to Sue Hurrell and Lorraine Edwards on make-up, and the ladies of the company on costume, for their faithful and creative efforts.

On then, to the performances in Princess Ida, of which there is much good news to report. The central role of Prince Hilarion was played with passion, energy and enthusiasm by Robert Feeley, who thoroughly impressed me with his command of some incredibly complex content. To my eye, there were no “easy” parts for this character and Feeley is to be commended for his sterling work. His vocals were strong and assured throughout, handling Sullivan’s demanding score with clarity and confidence, and his stage presence was both engaging and charismatic. Whether in moments of lyrical tenderness or quick-witted exchanges, Feeley maintained a performance that was as polished as it was heartfelt, making Hilarion a thoroughly compelling figure at the centre of the action.

The play’s two kings, Hildebrand and Gama, were played by Philip Walsh and Carl Donohue respectively, and each delivered power, gravitas and regality throughout. Walsh brought real authority to the role of King Hildebrand, delivering a commanding performance that anchored every scene he appeared in. His presence was matched by a powerful vocal delivery, which gave real weight to his lines and musical moments alike. As King Gama, Donohue was equally assured, relishing the character’s sly wit and sharp asides. His vocal projection and clarity ensured that every biting remark landed perfectly, and his performance carried both strength and style.

As Hilarion’s loyal companion Florian, Mark Rawlinson gave a confident and well-measured performance, bringing warmth and charm to the role. His vocals were clear and consistent, blending beautifully in ensemble numbers while still standing out in his own right. Rawlinson’s easy stage manner made him a natural foil for both Hilarion and Cyril, and his characterisation was engaging from first to last.

Chris Dodd, as Cyril, brought a lively and infectious energy to the stage, capturing the character’s playful spirit without ever overplaying it. His vocal delivery was bright and well-projected, adding a fresh spark to the trio’s musical moments. Dodd’s comic timing was excellent, and his interactions with both his fellow “students” and the wider cast added to the production’s sense of fun and pace.

The titular character, Princess Ida, was played with poise and conviction by Lydia Lythgoe, who proved a marvellous choice for the role. She possesses a beautiful soprano voice that carried effortlessly through the auditorium, handling Sullivan’s demanding vocal lines with clarity and control. Visually, she was instantly unmistakeable — her striking red hair adding to the commanding presence she brought to the stage. Lythgoe balanced regal authority with emotional nuance, making her Ida both formidable and relatable, and she anchored the production with elegance and assurance.

Beyond the principals, Princess Ida was brought to life by a committed and wonderfully cohesive ensemble, each performer adding energy, colour and character to the production. Ross Rogers (Arac), Michael Bridges (Guron) and David Twizell (Scynthius) made a fine team as King Gama’s sons, delivering their roles with a blend of humour and presence that complemented the action perfectly. Nicola Walsh (Lady Blanche), Amy Hardy (Lady Psyche) and Becky Kay (Melissa) each brought personality, strong vocals and confident stagecraft to their performances, adding depth and variety to the university scenes. Hannah Dashwood (Sacharissa), Ann Cooper (Chloe) and Joan Marshall (Ada) also contributed memorable moments, with each member of the ladies’ chorus — Doreen O’Malley, Angela Lea, Elizabeth Davis and Joan Marshall — enhancing the musical numbers with both sound and spirit. The gentlemen’s chorus, comprising Martin Cassell, Michael Akers, Andrew Milner, Oliver Lee, Kevin Hesketh, Andrew Burdett, Chris Matthew, Neil Saunders, Josh Curtis and Philip Mawson, gave solid, characterful support throughout.

It was particularly heartening to see a cast that spanned generations working together so seamlessly — proof that performance is as much about experience, dedication and joy as it is about age. There were no weak links here; every member of the company played their part in creating a truly enjoyable evening, and their collective enthusiasm for the material shone through in every scene.

Princess Ida may not be the most frequently staged of the Gilbert & Sullivan repertoire, but this production proved just how much charm, humour and musicality it has to offer in the right hands. Preston G&S Society approached it with dedication, skill and a shared love of performing that was evident from start to finish. It was a genuine pleasure to spend the evening in their company, and I left with a smile on my face and a real appreciation for the hard work that had gone into bringing this piece to life. Congratulations to everyone involved — I look forward to seeing what you do next.

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