‘Iolanthe’ review
‘a production which not only showcased the phenomenal musical ability of the performers, but also endowed a beloved opera with the comedy which Gilbert and Sullivan intended and deserved.’
Directed by Sarah Johnston, with Musical Director Michael Kohn, Durham Opera Ensemble’s performance of Iolanthe was a vibrantly entertaining romp which combined comedy with incredible musical talent.
The production was brought to life by an incredibly polished cast, with actors Maia Harris Lindop and Daniel Hicks standing out in particular as the hilarious haughty Fairy Queen and Lord Chancellor. Harris Lindop’s dramatic entrances and imperious flirtation enraptured the audience, never faltering in her voice or expression, to the extensive amusement of the audience. Hicks’ stirring performance of the “Nightmare Song” must be highlighted as he succeeded in maintaining his impressive diction while accomplishing excellent comedy. Both actors demonstrated fantastic physicality in their roles, with outstanding vocal control when speaking and singing.
The humour of Harris Lindop and Hicks was highlighted by the antics of the fairies and the lords, accompanied by the droll Private Willis (Samuel Davie). The fairies tripped hither and thither with a well-balanced mixture of graceful and farcical movement, traversing the entire stage with excitable and contagious energy. Meanwhile, the peers on their annual camping trips resembled a pack of riotous boy scouts. The dynamic in the second half between Matthew Dodd’s Lord Mountararat and Ash Marsall’s Lord Tolloller was particularly entertaining. The duo quickly became a favourite with the audience! Notably, Mathilda Ketterer as Phyllis’ combined entertaining facial expressions with physical comedy to draw consistent laughter both in her scenes with the Lords and with Strephen (Joseph Wilson). Aided by several well-utilised props, including comically small tents and an inflatable fire, the hilarious peers maintained the light-hearted atmosphere established so well by the fairies in the first scene. The contrast between their energetic jocularity and the poignancy of Strephen and the eponymous Iolanthe (Keira Barrett) engaged the very satisfied audience. On top of this, the brilliant singing talent of all cast members resulted in a thoroughly enjoyable production.
Credit must be given to Costume Designer Amanda Botelho and Assistant Costume Designer Olivia McClintock for their vast contribution to the visual splendour of the show. The glitz and glamour of the fairies, each clad in their own distinct, floral colour, contrasted the earthier tones of the mortal characters, creating a visual divide between the two worlds. One particularly memorable dress involved lit-up fairy lights, while the Fairy Queen’s majestic gown, complete with hand-stitched detail, highlighted her character’s confident power with its long, sweeping train. Meanwhile, the whimsical set design, involving dangling vines and two oversized toadstools, allowed the actors to explore the space in comically unexpected ways. The entire production team, under Production Manager George Murray, should be applauded for the accomplishment of such a fabulously detailed performance.
The cast took full advantage of the scenery, inhabiting all areas of the stage with the realism of characters truly familiar with their surroundings. The fairy dances, which, similarly to the peers’ routines, mixed the expected inspiration from ballet with a few refreshingly modern twists, were particularly fun to watch, as were the fairies’ fluttering interactions with each other. It was wonderful to see a cast so comfortable with interacting physically and creating realistic relationships between each other, both in the background and as the focus of scenes. While occasionally onstage positioning obscured the view of shorter individuals, this was not generally the case as there was extensive, thoughtful blocking. One standout feature of this was the dramatic tableau at the end of the first half, which imbued the audience with energy and excitement for what was to come.
The beautiful lighting sequence which began the performance set a very high precedent for the rest of the production. While it was fairly long, the underlying string music created a sense of suspense which built up excitement preventing it from becoming stagnant. The live orchestra was a wonderful feature, coordinating their timing and tempo remarkably well with singers onstage from their position in the pit. Their presence was a great asset to the performance, particularly in terms of heightening emotions, although at times it was a little difficult to hear quieter portions of the singing. These moments were brief though, and the orchestra was definitely a highlight of the evening, particularly during the enthusiastic percussion sections. The lighting was both beautiful and meaningful, with one particularly interesting scene involving a mesh screen, spotlights and candlelight, which isolated Iolanthe and the Lord Chancellor, who were in front of the screen, from the other characters, pulling focus to the emotional tension between them.
All in all, the Durham Opera Ensemble created a production which not only showcased the phenomenal musical ability of the performers, but also endowed a beloved opera with the comedy which Gilbert and Sullivan intended and deserved.
By Alice Barr.