EUSOG have carried the proverbial torch incredibly well, capturing the spirit of a show that’s been charming audiences since 1882

Gilbert and Sullivan are two of the best ever writers of comic operas and have created a legacy of timeless plays, from the humour, political satire, or charming melodies, they remain a favourite of theatres all over the UK. EUSOG have carried the proverbial torch incredibly well, producing a show that does capture the spirit of a show that’s been charming audiences since 1882.

It’s within the tradition of G&S to update certain lyrics and dialogue to fit more contemporary themes. The script by Lewis Eggeling, Rosalyn Harper, and Fraser Grant, decided to retool the play to explore ecological themes concerning climate change and adding new jokes throughout, this is the standout strength from the play. The fairies as playful but evermore determined ecological activists fits the fairies’ characters seamlessly and never feels forced. While this rewriting is present throughout, the ecological themes meander in and out of dialogue which feels like a missed opportunity, for it presents an incredibly relevant contemporary topic to satirise further.

Each fairy is adorned in beautifully scavenged and uplifted materials, sequins, makeup, and little embellishments like The Fairy Queen’s golden platform shoes bring the characters to life. The costume designers Eloise Robertson and Millie Franchi deserve praise especially while keeping in line with the show’s ethos of being environmentally sustainable.

The choreography by Alix Burness, brings the playfulness and anger of the fairies to life with every dainty step and point of their litter picker sticks. This is often subdued by mistakes present throughout, especially from the ensemble. These are excessive even for a student production, however this is sadly not surprising as EUSOG were still doing casting calls 7 weeks prior to the opening night.

Unfortunately this reoccurs throughout, similar small but frustrating mistakes pop up from slightly off key violins (that do improve throughout each half), a few lines or lyrics performed early/late and middling singing performances from ensemble cast. 

In terms of individual performances Thaddeus Buttrey is once again (for people who saw EUSOG’s ‘Little Shop of Horrors’) the star, doing an incredible job making the audience laugh, with every perfectly timed eyebrow raise and dry delivery of each punchline letting the laughs fall straight at his feet with what felt like an impeccable Matt Berry impression. This exemplary performance continued with his smooth baritone vocals embodies the gutsy character especially in ‘The Nightmare!’ which is the best solo throughout the show; if drama is a meritocracy no doubt Thaddeus will be on grander stages soon.

Izzie Atkinson as the Fairy Queen and Ewan Robertson as Strephon are two additional standouts. Izzie’s range as the unshakeable Fairy Queen, fair and strong, but also ultimately vulnerable to the mortal’s ‘charm’, is executed with such believability and grace fitting of someone of royal stature. Ewan carries well the burden of being half mortal half fairy with every kick of his heels lighting up the stage, with an annoyingly lovable quality to his performance. Biolanthe was played by Anna Judelson whose voice was rock solid, but not spectacular, having one of the weaker performances when just acting, lacking the grace and weightlessness that the character is usually presented with. 

EUSOG have produced a diamond – if they can sharpen the execution and cut amateur mistakes from the show. The amateur nature of this production is worth forgiving for a stellar script that captures and updates the charm of G&S for a modern audience effortlessly, with star performances worth the ticket price alone. The errors are only so frustrating because the foundations are solid and I’ve seen what EUSOG were capable of with prior shows, no doubt if this is addressed it can transform into a hilarious and enchanting contemporary Iolanthe adaptation.