All-Male Iolanthe

You might think the all-male Gilbert & Sullivan idea might run out of steam after a wonderful Mikado and terrific Pirate of Penzance, but no they’ve come up with another treat with Iolanthe.

In truth, the starting point – book, lyrics and music – aren’t as good, though the silly scenario – fairies meet peers! – thoroughly suits the concept and the frequent references to Tories and Liberals, though not directly referencing coalition, added a delicious contemporary twist. Stewart Charlesworth’s low-budget design ideas are superb – the fairies are dressed in assorted underwear with home-made wings and individual touches like shuttlecocks in the hair and the peers are in dressing gowns with assorted headgear and individual touches like ties. Each group seems to move as if a pack of cute animals sticking together in Mark Smith’s excellent choreography.

I’m not going to single out individual performances as this really is an ensemble piece. Quite how you find 16 men who can sing both falsetto and tenor / baritone is beyond me, but suffice to say the standard of singing is outstanding, five of them ‘with form’ in one or both of the previous two all-male G&S’s. Chris Mundy heroically plays the entire score on an upright piano, adding to the thrown together feel of the whole production.

I’m not sure I got the  point of the business with torches during the overture, it is a bit slow to get going & the first half is a bit long and I felt the campness was pushed just a little too far, but it’s still an irresistible cocktail and a whole lot of fun. Another triumph for director Sasha Regan and another feather in the Union’s now feather-heavy cap!