Festival Theatre, Malvern – 9th September 2022
Reviewed by Courie Amado Juneau
5*****
This most sparkling of comic operas from the pens of Gilbert & Sullivan weaves a tale of the fairy Iolanthe who is banished from the fairy kingdom for marrying a mortal. Her son, Strephon, wants to marry Phyllis but so do the entire House of Peers…
After a rousing Overture with the orchestra displaying their prowess, the Fairy Chorus entered to “Tripping hither, tripping thither” and the first signs of how hilarious tonight’s performance was to be. Their running out of steam and enthusiasm at the end showed perfect comic timing and was nicely underplayed.
The calling of Iolanthe by the Queen of the Fairies (played by Amy J Payne with genial authority) to the fairy court had more than a touch of Wagner about it. The music showing Sullivan’s contemporary influences and just how wonderful a score he produced.
Iolanthe (Meriel Cunningham) had a beautiful tone and her acting was unsurpassed, especially in the scene where she pleads to the Lord Chancellor on her son’s behalf. A touching performance with every last ounce of emotion rung from her body language, expression and voice.
Our two lead lovers Strephon (Matthew Palmer) and Phyliss (Emily Vine) had a charm and innocence I found endearing. Both were a joy to listen to and watch.
The Lord Chancellor (Matthew Kellet) had the whiff of the always theatrical John Bercow (previous Leader of the House) about him and was simply sublime. A commanding baritone voice coupled with a set of impressively voluminous moustaches warmed my heart enormously. Spot on sir!
The second act was where the work really took off leaping straight into the funniest moment of the evening: Private Willis’s “When all night long a chap remains”. Matthew Siveter showed his comic genius by squeezing so much humour from such small gestures. A stunning portrayal that deserves it’s own spin off show!
The interplay between the Earl of Mountararat (Ben McAteer) and Earl Tolloller (Hal Cazalet) was another highlight. Crisp diction and impeccable acting kept the mirth taps fully open, as did the facial expressions of Celia (a fairy, captured perfectly by Catrine Kirkman).
The song “When Britain really ruled the waves” was worth the price of admission on its own! This song ought to be played to politicians daily before entering the chamber to keep them grounded. Never have truer words been spoken (or sung), showing Gilbert’s acerbic genius!
The undoubted highlight I have enjoyed most when seeing G&S works is revelling in the updated humour and this production didn’t disappoint with many current references producing lolworthy moments – tonight’s best involving a reference to the recently ousted PM’s bring your own booze debacle.
It was a real treat to see G&S played by a young cast of realistic age, giving the love interests a believable air and vibrancy. These Operettas are shockingly effective and enjoyable when done right and this professional company did everything right tonight. Book your tickets to see this company or you will be missing out on a terrific evening’s entertainment. An absolute triumph from all concerned in this stunning work from when Britain really ruled the stage