‘Iolanthe’
English National Opera – October 2023
Cal McCrystal’s production of ‘Iolanthe’ was a big hit when first staged and judging by the ecstatic audience reaction on the first night of this revival, it will be an even greater success this time around.
When first performed, Gilbert and Sullivan’s work thrived on topicality; their satire was fresh and relevant but was in many ways also timeless. A problem with the legacy preserved by the D’Oyly Carte Opera Company was that this timeless aspect was obscured by productions that were determined to mummify the originals in theatrical aspic; they ceased to be living, breathing entities and eventually began to lose audiences, most of whom had seen it (and them) all before. By contrast, Cal McCrystal’s production is brimming with life.
‘Iolanthe’ begins with the advantage that its central themes are of obvious relevance to a contemporary 21stcentury audience. It seems insane to many, including your humble reviewer, that the House of Lords, even taking into account its reorganization, continues to wield such power. The Queen of the Fairies decree that admission to the Noble House should be by competitive examination seems an entirely sound idea, and the Lords’ realization that the Fairies, monstrous regiment of women though they might at first appear, can be a welcome counterbalance to their stuffiness and misogyny, is an entirely welcome one.
Of course, this relevance is made far more palpable by an array of additional material that makes sure that this is, in many ways, the very model of an updated Victorian comic-operatic experience. There is no attempt to suggest that the fourth wall has any relevance here. The character of Captain Shaw, head of the London Fire Brigade, mentioned in the Queen of the Fairies’ song ‘O Foolish Fay’, is here given abundant life by Clive Mantle, putting the audience in their place in his opening address post overture: ‘Ah yes, we have a very diverse audience – we have the middle class (pregnant pause) and the upper-middle class!!’ You get the idea…
Another innovation is some VERY unPC jokes. Phyllis remarks of an elderly suitor ‘He splashes out on my clothes!’. The Lord Chancellor asks his Page (another McCrystal innovation) while the latter is putting on his shoes ‘Have you got the horn?’ ‘No, it’s just the way I’m sitting…’ The Queen of the Fairies mis-hears Strephon as ‘Strap On’. Again, you get the idea…
You might think this is all pretty harmless, or perhaps you don’t. Some forces at work within the ENO were evidently not amused by other jokes of this kind, relating to female proportion and intelligence. These were cut, even though the vast majority of cast and chorus seemed perfectly happy with their inclusion. On this matter I am with Sir Toby Belch in ‘As You Like It’: ‘Dost thou think, because thou art virtuous, there shall be no more cakes and ale?’
And indeed, there was plenty of cakes and ale on offer. The set design by the late Paul Brown is wonderfully imaginative and opulent (the steam train crashing through the backcloth carrying on the Peers for their first entry is a superb coup de theatre) and his costume designs, particularly for the fairies, are gorgeous. This is also a notably well sung, acted and,(plaudits to choreographer Lizzi Gee) danced revival. Catherine Wyn Rogers (why isn’t she a Dame yet!?) lavishes genuine contralto gravitas on the Queen of the Fairies, producing an unending stream of golden tone, Marcus Farnsworth and Ellie Laugharne as Strephon and Phyllis are picture perfect young lovers, not afraid to send themselves up when required (see below), Ben McAteer and Ruari Bowen as Earls Mountararat and Tolloller sang and acted splendidly, John Savournin was a refreshingly unhackneyed Lord Chancellor – younger than usual, so his ‘susceptibility’ to his female wards in chancery made more sense; he was ably abetted by Adam Brown as his Page, particularly in the relentless slap stick of the trio ‘If You Go In’ where the latter (in a performance of fantastic energy) is subject to the most painful, but hilarious, physical indignities. Keel Watson is a ripe and resonant Private Willis, showing fine comic timing, and treating us to a range of deafening parade ground commands. Llio Evans, Bethan Langford and Petra Massey are characterful and well-differentiated as senior fairies Celia, Leila and Fleta. But the undoubted star of the show, to my mind, is Samantha Price as Iolanthe: required to execute ever more complicated baroque gestures, speaking her convoluted, archaic dialogue with pure cut-glass enunciation, yet able to melt all hearts with her moving ‘My Lord a Suppliant at thy Feet I Kneel’. She is superb.
I have had several discussions with friends and colleagues who have objected to bits of business ‘pulling focus’ when soloists are singing. The most obvious examples are blundering stagehands moving dummy sheep around during ‘None Shall Part Us From Each Other’ and Phyllis and Strephon performing a (very proficient) clog dance during ‘If we’re weak enough to tarry’. My response has been that the human brain is perfectly capable of focusing on several things at once and if you feel that strongly, go home and listen to a recording. In any event, Marcus Farnsworth is involved in both numbers and he seems perfectly sanguine about the matter…
Once again, the ENO Chorus is on brilliant form. Here, any attempt at an objective review flies out of the window. Full disclosure: my wife has been a member of this Chorus for thirty two years and ‘Iolanthe’ will be her last show with the Company. A good number of her colleagues are my personal friends, so it is a great pleasure to identify some individual contributions. David Campbell is an hilariously convincing Boris Johnson look-alike, Andrew Tinkler a very tall and very blasphemous (Jesus Wept!!) bishop, Natalie Herman, makes much of little as a fairy convinced she never gets any older: ‘It’s AMAZING!!!’ and Robert Winslade Anderson adds a wonderfully resonant off - stage low bass note to Phyllis’s soprano coloratura fury at Strephon’s supposed infidelity. Finally, Graham Lauren, who gets the best joke of the evening: The Queen of the Fairies: ‘Private Willis, how would you like to be the first Fairy Guardsman?’ Graham Lauren (as a very camp peer), ‘O I don’t think he’ll be the first!’
If we add the very fine ENO Orchestra and assured conductor Chris Hopkins doing full justice to Sullivan’s opulent score then we have an evening to remember. Bravi Tutti!!
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