Iolanthe
English National Opera
This all new production of Iolanthe has a different director Cal McCrystal from the ENO G&S smash hit Pirates of Penzance, but looks like being as huge a success as that was. McCrystal – who is newish to opera – plays it straight, proper Gilbert and Sullivan and this is a wise mood as its viciously lampooning of privilege and morals works just as well today as it did then and needs no modern tweaks or wink-wink additions. McCrystal directs a production that embraces the chaotic physical comedy and irreverence that are his hallmarks. His is a sharp knife peeling away the daftness of British Society and romantic tomfoolery to allow us to laugh as it’s fatuousness but still keep respect. It’s a carefully measured slaughter of sacred cows and hardly puts a foot wrong, with very little updating it’s right on the button; a sad reflection of how little the British institutions actually change..
Iolanthe is a brilliantly funny, satirical fantasy, revealing a typically Gilbert & Sullivan topsy-turvy worldview. Phyllis and Strephon wish to marry, but as Phyllis is a ward of court she requires the Lord Chancellor’s permission. The Lord Chancellor, however, wants her for himself.
This is wonderfully, carefully, beautifully done with an irreverent attention to detail which will charm Operetta buffs and enough slack, wild and wondrous charms which will seduce the G&S fans and even tease in folks who (might think they) like neither with its exuberance fun and silly ditties.
This is classy deconstructiveness, done with such a deft touch and perfect sense of comedic timing that it feels oddly amateur at some points and I need to qualify that by saying in the best possible way – like watching folk you know well do something you love. It’s charm and engaging plotting gives you the feeling that you’re watching something wonderful unfold, full of bumps and offsides, raised eyebrows and sotto voice grumblings, it’s a rather stylish piece of pantomime theatre and the Victorians would have loved it. The audience loved the double entendres – all from the original text unchanged apart from the way that time and contemporary culture has filthified their meaning.
As vulgar in parts as it is romantic in others it doesn’t miss a beat and with so much to get though that’s impressive. Timothy Henty keeps the ENO orchestra on a tight leash and they plough through the score giving it just the right amount of earnest smoothness needed with some extra oomph’s when the staging requires it. Sullivan’s carful and beautiful musical parodies are given the gentle sincerity required and the orchestra kept form and energy till the last note.
The Chorus, dressed with love are a constant riot of fairy and lords, clashing and dashing, dancing and prancing, singing and joyfulness are lovely, each and every one of them. Each year there is a production from the ENO which makes me utterly adore the chorus and their work in Iolanthe is flawless. Choreographer Lizzi Gee is to be commended on her robust sprightly work with them.
You know you are in for a treat and in a safe pair of hands when Andrew Shore’s Lord Chancellor walks on stage and he gets to bounce, dance, do his verbal pyrotechnics and even floats at one point, whatever he does he brings laughter pouring out. His skill is impressive and his voice supports the intricate and demonic words set with such brilliance by Gilbert, although he spoke as much as sang his lines, but all with effortless ease. Shore never lets us forget this is supposed to be fun. Yvonne Howard as Queen of the Fairies gives a wonderful counterpoint, part Valkyrie, part Tinkerbelle her voice warm and resonant giving passion to the role. Marcus Farnsworth’s superbly passionate but on point Strephon was excellent -a heartthrob we could believe in and Ellie Laugharne’s Phyllis was a delight, her conniving charisma convincing as her voice. They did a clog tap dance dressed as Dresden shepherd & shepherdess whilst singing – a piece of ENO magic I’ll not forget in a while.
Never overpowering the singing the comedy in this opera is laid on creamy thick but with such a lightness of touch and perfect comedic timing that it takes the whole thing up a step. Richard Leeming get a Tarantino style beating time and time again as the Lord Chancellor’s Page but his dynamic dancing and very funny face brought forth roars of laughter and Barnaby Rea gives an excellent and handsome Private Willis his profound voice rolling around the auditorium. Ben Johnson and Ben McAteer as Earls Tolloller and Mountararat respectively wrap each other up in tender adoration with a touching (and caressing) public-school bromance, which gives a delightfully layered gay twist to this lords & fairies tale there’s even a perfectly judged epic Star Wars reference which works so very, very well and elicited delightful giggles from the audience.
Phew, well done ENO on such a superb evenings entertainment.
You can read the full synopsis here
The sets from the late lamented Paul Brown, all painted back drop and stylised Victoriana are a triumph and bring some laughter along with them, Browns sense of Britishness was perfect and yet he still manages to infuse a modern sense to everything we see. There’s some superb big resounding theatrical moments with the entrance of the lords and the destruction of the Arcadian landscape by the industrial revolution and slapstick daftness down in a beautiful House of Lords, all Pugin high gothic carved wood and red velvet. Delightfully silly stuff and given the perfect flush of lighting from Tim Mitchell with flashes of period references. Actor Clive Mantle is lovely as the Monty Pythonesque high Victorian music hall Captain Shaw, a well-known fireman of his day, mentioned in his text and brought to life by McCrystal as the MC of the evening who intervenes to douse the fairy’s magical fire at a few hilarious points.
It’s simply lovely working on many levels a work of art and as charming to watch as it is beautiful to listen to.
If you’ve not thought about going to see a Gilbert & Sullivan work before then this is the one to go see, it’s selling fast, not surprisingly so book now.
Plays until April 9
For more info or to book tickets see the ENO website here
English National Opera
St Martins Lane
London
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