Review: Iolanthe, Wilton’s Music Hall 

I must confess to having reached 55 years of age without ever having seen a Gilbert & Sullivan operetta. Yet such is the ubiquitous nature of this cultural phenomenon with his armies of devotees, I was not short of a preconception or two before arriving at Wilton’s Music Hall for the Charles Court Opera production of Iolanthe. I’ll be honest, I was ready to loathe it. 

This is a production some six years in the making. John Savournin, the artistic director of Charles Court Opera, explained at the top of the show that they were four previews deep when the Covid lockdowns struck. This admission disarmed me somewhat. Thinking back to that awful time for everyone, but particularly for artists, I was more determined than ever to keep an open mind.  

I’m sure that they haven’t spent the intervening years endlessly rehearsing, but they might as well have.  My main takeaway from tonight’s performance is how supremely polished it is. Whether or not Gilbert & Sullivan is your thing, it is impossible to deny the pristine perfectionism of this production.    

A scaled-back chamber orchestra under conductor and musical director David Eaton deliver an emotional but precise musical backdrop, striking the right balance between expression and pace so crucial when in this genre. The playing is faultless throughout.  

Similarly, there is not a single weak link in the singing ensemble. I had never previously experienced opera at Wilton’s, but I was struck by how the balance between intimacy and power can be delivered in this space. The ensemble go far beyond note-perfect, combining rich vocal tone with playful expression that makes the whole enterprise look effortless, which it assuredly is not.   

It seems churlish to pick out highlights but special mention must go to Meriel Cunningham’s Fairy Queen for the sheer breadth of her tone and finely judged comic expression. Kudos too to Matthew Kellett. His resonant baritone shines throughout, making light work of the Lord Chancellor’s patter songs. The absolute clarity with which he delivered every syllable while still inhabiting a vibrant comedic physicality was a masterclass in musical and comic assurance and would put many West End musical stars to shame.  

The plot, it has to be said, is as preposterous as my preconceptions had me believe. However, this production includes re-writes that throw the spotlight firmly on political commentary, sharpening the satirical scalpel. I guess that those re-writes went right up until these previews because the line about Chat GPT gets one of the biggest laughs of the night. Similarly, Catrine Kirkman’s Thatcher-inspired Lady Mount Ararat draws huge belly laughs from seasoned aficionados, though I can see these kinds of gags having a shorter shelf life with a younger audience. 

Elsewhere, Wilton’s two-tier stage is used to excellent effect, creating a farcical environment ripe for secrets, concealment, and physical capers. Dressed in a functionally realistic set by Molly Fraser, the production again exudes a professionalism that goes beyond expectations. Her costumes are equally impressive: well tailored, stylishly judged, and refreshingly free of the ill-fitting suits that too often betray theatrical laziness. 

Even if you have not waited as long as I have to encounter Gilbert & Sullivan, this production makes a clear case for their enduring appeal. With performances of such precision, intelligence, and joy, Charles Court Opera delivers an evening that is both exhilarating and unexpectedly moving. 

Director and artistic director: John Savournin
Conductor and musical director: David Eaton
Revival director: James Hurley
Choreographer: Merry Holden
Original designer: Rachel Szmukler
Costume designer and revival set designer: Molly Fraser
Lighting designer: Ben Pickersgill

Iolanthe plays at Wilton’s Music Hall until Saturday 28 February.