A light-hearted production of a less frequently performed Gilbert and Sullivan
A Gilbert and Sullivan classic, Iolanthe was produced during the peak of the composers’ collaboration, opening on the same night in 1882 in both London and New York. This production joined the list of ‘Savoy Operas’, shows performed in the Savoy Theatre which was purposely built to showcase the work of the famed duo.
With a run cut short in March 2020, today Iolanthe is performed in Wilton’s Music Hall by the company of Charles Court Opera. The story follows a classic tale of mistaken identity, with an extra dash of magic. Fairies are forbidden to marry mortals but Iolanthe has gone ahead and done so anyway, producing a half-fairy half-mortal son while she’s at it. General chaos ensues, with the story set in central London’s House of Lords.
The ensemble is vocally strong, producing some glorious harmonies and articulating the often fast-paced lyrics with skill. Unfortunately, there is some considerable background over-acting which often serves to upstage the soloist, a shame when the singing is the highlight.
Matthew Kellett is a magnificent Lord Chancellor, delivering on both comic timing and vocal prowess. His performance of ‘the nightmare song’ is well-paced and hilarious, eliciting well-deserved whoops of appreciation from the audience. Meriel Cunningham is a dominant yet cheeky Fairy Queen, with a beautifully unique voice commanding cast and audience attention alike.
Gender-swapping a lord character to Lady Mountararat (Catrine Kirkman), we are treated to a fabulous Theresa May impression and some lovely vocals. Strangely, although this casting choice results in a lesbian relationship, director John Savournin completely shies away from the reality of this. While the male Earl and his female partner sit on each other’s laps and hold hands, the all-female pair stand stiffly side by side. If a gender swap is introduced, this disappointing same-sex relationship prudishness rather defeats the purpose.
A very enthusiastic Charles Court Opera Chamber Orchestra is conducted rather noisily by David Eaton, producing a beautiful score at a fiery pace, with performers struggling to keep up at times.
Set design by Rachel Szmukler is flexible and realistic, while costumes and makeup leave much to be desired. Fairies are dressed in anything from boxing boots to Dr Martens, with unexplained, newspaper-inspired costumes. The female cast members are made-up very heavy-handedly using an intense, fiery palette potentially with stage lights in mind, but this is not required for such an intimate venue.
A comic opera well-suited to the current political times, Charles Court Opera presents an admiral revival. Iolanthe plays at Wilton’s Music Hall until February 28, 2026.
Theresa May? Oh dear oh dear.