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Iolanthe
Or, The Peer and the Peri
Libretto by Sir William S. Gilbert
Music by Sir Arthur Sullivan
Directed by Kurt Johns
Musical Staging by Rudy Hogenmiller
Conductor Roger L. Bingman
Produced by Light Opera Works
At Cahn Auditoruim
600 Emerson Street
Evanston, IL
Call 874-869-6300, tickets $29 - $85
Wednesday, August 20 at 2 pm
Friday, August 22 at 8 pm
Saturday, August 23 at 8 pm
Sunday, August 24 at 2 pm
Running time is 2 hours, 30 minutes with intermission
Through august 24, 2008
High satire and velvety melodies propel Gilbert & Sullivan’s “Iolanthe”
Roger L. Bingman’s 28 piece orchestra deftly enriches the velvety Sir Arthur Sullivan’s music to “Iolanthe,” a comic fairy operetta. “Iolanthe” opened the Savoy Theater in London in 1882 as the 7th of 14 collaborationsbetween Gilbert & Sullivan. Many consider this their most sophisticated and clever work. I was totally captivated with the blend of wit, satire and lush melodies of this timeless work. Sir W.S. Gilbert’s scathing satire of British aristocracy, the House of Lords, lawyers, and political parties still won the hearts of the English by use of funny, bouncy music and cutely innocent fairies.Gilbert pokes fun while winking an eye—all in good English fun.
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Iolanthe (Jessye Wright), 25 years earlier committed the fairy moral sin by marrying a mortal. The Fairy Queen (Veronica McHale) reduced her sentence from death to banishment for life if she leaves her husband and never communicats with him again. Ridden with guilt and coxed by the fairies, the Fairy Queen pardons Iolanthe. Iolanthe tells the fairies that she has a son, a half-fairy, half-human named Strephon, an Arcadian Shepard (Colm Fitzmaurice). She states: "He's a fairy down to the waist, but his legs are mortal.” Strephon tells Iolanthe that he is in love with a mortal, Phyllis (Alicia Bernache), a ward of The Lord Chancellor (James Harms), who forbids Phyllis to marry Strephon.
Meanwhile, we meet the Lords, led by Lord Mountararat (Alex Honzen) and Lord Tolloller (Bill Chamberlin)—the inept British aristocracy more interested in English manners and fellowship than romantic love. The peers (members of the House of Lords) become smitten by the peri (faries). The two types interact at Parliament as The Lord Chancellor struggles whether to marry Phyllis himself. The Fairy Queen and her peri save the day. All live happily once the peers and the peri become united.
G & S’s “Iolanthe” is a melodiously enchanting work so filled with cuteness and harmless humor that we simply sit back and enjoy our trip into fairy land. Sullivan’s score has light opera techniques, comic patter songs, and stirring love songs that, together with funny repeating lyrics, gave the score a humorous tone that we enjoy. The piece doesn’t take itself seriously at all. This lightness is refreshing. We have as good a time as the performers—we all smile.
Light Opera Work’s production, under the swift flowing direction by Kurt Johns and movement by Rudy Hogenmiller, allows the satire and comedy to flourish. Rich voices from Alex Honzen (baritone) and Bill Chamberlain (tenor) together with Veronica McHale, Jessye Wright and Natalie Ford do justice to the lyrics. James Harms’ apt comic turns was amazingly effective—especially with his nightmare complicated patter song. Colm Fitzmaurice and Frank DeVincentis were marvelous as Strephon and Private Willis. The ensemble work here was first class blending fine harmonies and swift movements.
Be sure to catch this vintage Gilbert and Sullivan operetta soon—you only have a few days to laugh and tap you toes to such a charmingly pleasant musical treat. “Iolanthe” is a sweet summer treat.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: August 16, 2008
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