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Storyline: A young lady who is a ward of the chancery court is in love with
a young man. What she doesn’t know is that he is the son of a fairy
(Iolanthe) who was banished for marrying a mortal. He is a fairy above the
waist but, from the waste down, he’s mortal. When she sees him expressing
devotion to his mother she’s riven with jealousy because that mother, like
all fairies, hasn’t aged beyond the appearance of a 17 year old girl.
Complications arise when the entire House of Peers applies for her hand in
marriage just as the Fairy Queen is insulted by the attitude of the mortals
toward fairies and, as a reprisal, casts a spell sending the young
half-fairy into Parliament with the power to pass any bill that strikes his
fancy, including one opening the nobility to anyone who can pass a
competitive examination.
If
proof were ever needed, here is ample evidence of the magical effect of the
sublime melding of W. S. Gilbert’s solidly constructed pieces of whimsy and
Arthur Sullivan’s ability to compose music at once serious sounding and also
perfectly matched to even the most nonsensical lyric. Was ever there a match
between melody and gibberish as heavenly as in the entrance of the House of
Peers chanting “Tantantara! Tsing! Boom!”? Where in the entire cannon can
you find so sincere a melody to land a zinger like “When Wellington thrashed
Bonaparte / As every child can tell / The House of Peers, throughout the war
/ did nothing in particular / And they did it very well.”? And many first
time listeners can be excused if they think they are hearing Beethoven when
the orchestra sets up the aria “When you’re lying awake with a dismal
headache” not knowing that they are about to hear a patter song to rival
H.M.S. Pinafore’s “I am the monarch of the sea / the ruler of the Queen’s
Navee.”
The
Victorian Lyric Opera Company mounts solid productions of the Savoy operas
of Gilbert and Sullivan with great attention to recreating the original
approaches. They don’t attempt to update the works which date from 1875 to
1896. But their reverence for the values of the originals doesn’t mean that
they create museum pieces. If Iolanthe is any indication, they
succeed in bringing these marvelous pieces to vibrant, enjoyable life. The
set here is a colorful, functional representation of first the fairy’s
Arcadian idyll and later the palace yard in front of an off-balance Big Ben.
Costumes are similarly faithful to the original intent.
The
strongest members of the cast are singing the most important roles, with a
few truly standout performances. No production of Iolanthe can succeed
without an excellent comic bass-baritone for the role of the Lord Chancellor
and in Michael Galizia this production is well served. The lovers here are
Rob Ritter and Pamela Butler, a full voiced couple who carry their scenes
with melodic panache. The title role is well sung by Elaine Dalbo, and Dyana
Neal rises to the occasion of her climactic “My Lord, a suppliant at your
feet” with grace. Ira Haber and Pete Krueger are taxed a bit by the demands
of their parts but Julio Martinez is strong voiced throughout, especially in
the Act II opener “When all night long a chap remains” but it is in his sly
winks and his body posture in the scenes with the Fairy Queen that capture
the heart not only of fair maiden but of the entire audience.
Book and lyrics by W. S.
Gilbert. Music by Arthur Sullivan. Directed by Jane Christenson. Music
director and conductor, Joseph Sorge. Design: Meghan A. Williams (set)
Denise Young (costumes and stage manager) Ayun Fedorcha (lights) William
Kolodrubetz (stage manager). Cast: Wendy Bond, Stephanie Brigham, Pamela
Butler, Ed Byrdy, Elaine Dalbo, Kiersten Drumm, Rebecca Karen Eisenstadt,
Gaye Freese, Lisa Freese, Tom Fuchs, Michael Galizia, Richard Gorbutt, Bill
Gribbin, Ira Haber, David Heiman, Deborah Jacobson, Pete Krueger, Andrew
Loosemore, Julio Martinez, Emily McCullough, Debbie Mobley, Dyana Neal, Rob
Ritter, Rusty Suter, John Turner, Alan Weil, Meghan A. Williams. |
