Presented by: SA Light Opera (aka SALOS)
Reviewed: 18 August, 2023
Iolanthe was the seventh collaboration between W.S. Gilbert and Arthur Sullivan. It is basically a satire on 19th Century British politicians, in particular the House of Lords, but with some delightful fantasy in the form of fairies thrown in for good measure. It’s interesting to see that today’s politicians here and in Britain haven’t changed much from their 1800s counterparts.
The music of the piece is perhaps not as memorable as that of say Pirates Of Penzanceor The Mikado, but still delivers the dazzling ditties, duets and solos Messrs Gilbert et Sullivan were renown for. And this cast deliver them well.
Maria Davis directs the piece with flair and an obvious love for the show. Her costume design is wonderful and well conceived, especially when it comes to the fairy outfits and the magnificent swirling robes of the Lords (shown off to great effect by Deborah Proeve’s choreography). Talk about inventiveness, there are even two mushroom people!!
Musical Direction is well handled by Kate White who conducts a small and very tight orchestra: Jade Maree (Repetiteur/Keyboard 1), Daniel Chieng (Keyboard 2), Iarla Bastians (Violin/Viola) and Michelle Hassold (Oboe/Cor Anglais).
The one niggle I have with this production is that the start of the show is long and drawn out with what seems to be a 4 hour Fairy Ballet and plot exposition (okay, 4 hours is somewhat of an exaggeration, it was probably only 3). The energy and enjoyment was lifted however with the somewhat spectacular entrance of Dione Shantel as Iolanthe. In a slight dramatic departure for her that she carries off so well, Shantel’s stunning vocals match her voluminous wing span.
Aled Proeve (Strephon) and Danielle Ruggiero-Prior (Phylis) make the ideal Gilbert and Sullivan romantic leads. Proeve is a delightfully dreamy and very affable half fairy/half mortal – allowing for predicament jokes akin to those of being born on the 29th of February. Ruggiero-Prior is the consummate professional when it comes to acting and singing (and handling wig malfunctions). Her characterisation of a bubbly headed blonde heroine is a joy every time she makes an appearance, with her Soprano vocals just soaring.
As the Lord Chancellor, Damon Hill is his usual hilarious excellence. He never seems to run out of breath nor steam in numbers such as The law is the true embodiment, When I went to the bar and Love unrequited robs me of my rest.
Graham Loveday (Earl of Mountararat) and Benjamin Fleming (Earl Tolloller) make fine Lords and ennoble us with a rich Baritone from Loveday and an equally impressive Tenor from Fleming. An equally splendid Baritone voice is supplied by Jason Clark in Act Two as Private Willis. He also has an hilarious non-speaking role in Act One as a bored lackey to the Lord Chancellor.
As always with a SALOS show, the ensemble were in fine voice. But a special mention must be given to Katrin Treloar for her spot on performances as a Tyrolian/Steampunked Elf type and Male.
Another entertaining SALOS production from this established company.
Reviewed by Brian Godfrey
Venue: The Tower Arts Centre
Season: Ended
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