The charming Iolanthe at Union Theatre can boast a brilliant ensemble cast and stellar music.
From the woman behind the all-male Pirates of Penzance comes another idea executed with panache. With this blokes only production of Gilbert and Sullivan's operetta at Union Theatre, Iolanthe director Sasha Regan has come up with one of the best musical productions that London’s fringe scene has witnessed this year. A superb ensemble cast file in and out of the door at the back of the theatre, singing and prancing, adorned in lace, pearls, shuttlecocks and badminton nets in this creative, charming production.
In a plot that delights but doesn't much matter, Iolanthe draws on issues of identity, politics, and romance all wrapped in blithe humour. This is the story of a shunned fairy, forced to live with the frogs after she marries a mortal. Her half fairy, half human son Strephon is engaged to Phyllis, who is also sought after by most of the House of Commons. Phyllis doesn't know her fiancé is half-fairy, and no one knows who Strephon's father is which sets up some great mistaken identity and revelation scenes as the story unfolds.
A stellar ensemble cast woos their audience with light-hearted comedy, camp tomfoolery and damn fine voices. Much of the success of this production is down to Sasha Regan’s truly impressive ability to direct a cast of sixteen in a small venue and Chris Mundy’s clever musical direction.
Using the space to heighten the experience of the audience, and embellish the impishness of the characters, the cast hide behind audience seats, and sing in the aisles, bringing the audience into their fairy world and resulting with every number being met with rapturous applause. The musical direction feeds the audience a never-ending stream of sound from live pianist Jill Farrow who immerses her audience in dainty tunes and strong songs when it’s time for some political drama.
Stewart Charlesworth's production design brings a shabby elegance to the show. Shuttlecocks and badminton nets become wings as his costumes bring feminine grace to this all-male production. He celebrates the male form and accessorises cleverly with pearls, baubles and lace. He pokes fun at the grandiose demeanour of politicians with elaborate cloaks and top hats. But he hasn't sought uniformity and instead champions the individuality of his cast in whether they are playing fairies or members of the cabinet.
The only mute point is the choreography, which certainly leaves something to be desired, although this could be more down to the size of Union Theatre which, though we love it, is a bit on the small side. Nonetheless, Sasha Regan's all-male Iolanthe is a shimmery pre-Christmas treat that deserves to enjoy a much longer run.
Iolanthe runs at Union Theatre until December 11th.
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