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Iolanthe, performed by the Carl Rosa Opera at Chichester Festival Theatre.

A Colourful Satire on the Politics of Sex and Government.

In his programme notes Peter Mulloy, the artistic Director of the Carl Rosa opera, says that he is seeking a balance of old and new, staying true to the original staging (in 1882) whist striving for a new freshness. Well I am delighted to say that he has succeeded.

A wonderfully colourful production, with costumes based on the originals worn in the Savoy Theatre production 130 years ago, brought joy and laughter to the opening night audience in Chichester as the cast overcame some first-night ‘near-things’ to give a boisterous rendition that filled the theatre with glorious music. On a simple stage, many of the original production’s touches (battery lit wands) were enhanced by the use of Chichester theatre’s design (with most of the entrances and exits being through the audience).

This ridicule of the ruling classes of Victorian times, written by Gilbert and Sullivan at the height of their powers, showed how little has changed in a century, with sheep-like MPs, a move to democratise the House of Lords and a legal system grappling with the concept that diligence, honesty and merit should lead to promotion and advancement. The politics of men and women shown here has also not changed much!

It is said that the Lord Chancellor in Iolanthe was the reason that Tony Blair’s Lord Chancellor, Lord Falconer, dispensed with wigs and breeches.

The plot is hatched from Gilbert’s enduring interest in the fairy kingdom and the story of love between mortals and fairies is wonderfully emphasised by Sullivan’s whimsical score. It opens with the return from exile (in a stream) of Iolanthe, exiled due to her marriage to a mortal, and the forgiveness of the Fairy Queen, majestically sung by Sylvia Clarke, an Australian G&S regular in contralto roles, and costumed as Brunhilda from Wagner’s Ring Cycle in Act 1 and as Queen Victoria in Act 2.

It then transpires that Iolanthe’s marriage produced a child, Strephon, now a young man of 25 in love with Phyllis, a ward of court; and one theme of the operetta follows the ups and downs of these star crossed lovers, who showed a level of intimacy that might not have been seen in the original production!

One of the hurdles they must overcome is that the entire House of Lords appears to also be in love with Phyllis, especially the Lords Tolloller and Mountararat played and sung with great humour by Barry Clark and Bruce Graham.

However approval for marriage must be given by the Lord Chancellor, Richard Suart, whose voice unfortunately dipped in the rapid solos, and he is in love with Phyllis himself.

The plot gets more confusing as it transpires that Iolanthe is actually the Lord Chancellor’s wife and Strephon his son.

But with the fairy queen placing Strephon in Parliament with ability to pass any Act he pleases as punishment for the peers for their lack of intellectual skill, the influence of a woman’s (fairy’s) hand is seen as wise and influential.

So with Iolanthe revealing herself to the Lord Chancellor in order to win Phyllis’ hand for her son, and the fairies declaring their love for the peers, the fairy queen is forced to re-write fairy law, with the help of the Lord Chancellor, by the insertion of the single word “don’t”, so that the law becomes: “that every fairy shall die that don’t marry a mortal”. And, of course, the fairy queen bags the best looking mortal for herself!

Chichester Festival Theatre is to be congratulated for bringing this Carl Rosa production to us; it was a joyous evening with an excellent, and obviously experienced, cast providing a high quality of signing and music (although musical director Martin Handley had some trouble getting to the stage for his bow due to the set design). Congratulations to all involved.

easthampshire.org group:

• Chichester Festival Theatre

Reviewed by: bireland

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