Iolanthe ☆☆☆☆☆
Richmond Theatre
This well-loved comic opera by Gilbert & Sullivan has been re-invented in Sasha Regan’s all-male production into a glorious celebration of Englishness.
First a mention for Richard Baker the brilliant Musical Director/Pianist who manages to make you forget and not regret the fact that there is not an orchestra as he brings the piece alive. In fact, this production is a master class in putting on a musical/opera something a couple of recent west end productions could learn by.
As the lights dim the audience are invaded by schoolboys with torch lights investigating a run-down theatre, finding their way onto the stage discovering a wardrobe, props, clothes and an old copy of Iolanthe libretto. They are interrupted and run away, except for one who engrossed in reading it hides in the wardrobe.
So begins the story of Iolanthe, which relates the unusual love between …fairies and members of the House of Lords! Iolanthe is recalled from her banishment of 25 years for marrying a mortal to be pardoned. She had a son, Strephon, an Arcadian shepherd, played handsomely by Richard Carson (He’s a fairy down to his waist – but his legs are mortal.)
He is in love with Phylliss (Joe Henry) whom he is determined to marry. However, she is a ward of court and the Lord Chancellor and the entire House of Lords also have their eyes on her!
To open, the stage fills with Fairies dancing and singing tipping hither and thither! This is a genius stroke by the director and choreographer Mark Smith combining dance and fairy hand signing during their song and throughout.
A mention for the trio of Fairy Queen, Celia & Leila, Richard Russell Edwards, Dominic Harbison & Lee Greenaway respectively – a brilliant combination!
The costumes (also the set) by Kingsley Hall is an eclectic collection of pink satin corsets, chiffon, white shorts & socks …glitter …silk as if a dressing-up trunk has exploded and of course, the boys in varying camp posturing and groups make it all an utter delight.
There is so much to enjoy in this enchanting, magical production……not least the Peers in a combination of plaid dressing gowns, damask silk robes and again excellent set pieces of choreography.
The purist lovers of G&S operas may have quibbles with the singing but really this strong cast completely wins you over.
You will not see another production with the robust baritone of Private Willis (Duncan Sandilands) opening Act 2 with his aria “When All Night Long a Chap Remains” and an athletic cartwheel winning over the heart of the Fairy Queen!
The Lord Chancellor, (Alastair Hill) wrapping his tongue around some complicated lyrics more complex than some Sondheim’s so all in all this is a complete success and one to see over and over.
A dream would be if Sasha Regan had a permanent home with her G & S all-male productions running in repertory as D’Oyly Carte Opera Company had in the Savoy Theatre in London. Make sure you book a ticket, go see and be away with the fairies!
Review: Peter HarringtonPeter Harrington, Contributing Editor, is the retired Senior Designer for a leading fashion house which will remain nameless. He’s an avid connoisseur for the finer things in life particularly in all branches of the Arts. Once a habitué of Tangier, he now resides at the wrong end of Kings Road in London with his husband Alessandro and their precious pug Samba.
Labels: 2018, culture, London, Peter Harrington, theater review
