Reviews of Iolanthe

DC Theatre Scene

arch 31, 2009 by Steven McKnight
Filed under Our Reviews

If you have ever enjoyed a Gilbert & Sullivan operetta, Iolanthe is one you should rush to catch before it closes its short run. Iolanthe has a charming story and consistently entertaining music, and it receives a high-quality production in the capable hands of Washington Savoyards.

As the story begins, the Queen of the Fairies (Melissa Kornacki) agrees to lift the banishment of the beloved fairy Iolanthe (Maria Barnes) for the crime of marrying a mortal. As it happens, her half-fairy/half-mortal son Strephon (John Dellaporta) is now a young shepherd who desires to wed the lovely Phyllis (Annie Gill). As Phyllis is a ward of the chancery, however, her husband will be chosen by the Lord Chancellor (Jase Parker). Numerous lords and even the Lord Chancellor himself desire to take Phyllis for a wife and object to her marriage to a lowly shepherd.

The story lends itself well to the droll humor of Gilbert and Sullivan, having fun with themes such as the relationship of the sexes, politics (Strephon winds up in Parliament), personal honor, and the law. The complications are amusing and the requisite happy ending leaves all in good spirits.

All of the cast principles sing well, although Annie Gill’s performance as Phyllis is particularly memorable. Her enunciation is flawless and her vocals soar, especially in her duets with Strephon (”Good Morrow, Good Lover” and “None Shall Part Us from Each Other”). Maria Barnes also has a fine moment with “My Lord, A Supplicant at Your Feet.”

Melissa Kornacki has a wonderfully regal presence as Queen of the Fairies. John Dellaporta has such charm as Strephon it is easy to believe that he is a fairy “from the waist up.”

The real star of the evening, however, is Jase Parker. His expressive performance as the Lord Chancellor is a model of G&S comedic charm. His unforgettable rendition of “Love, Unrequited, Robs Me of My Sleep” rightly drew the most appreciative applause of the evening.

The Washington Savoyards company’s experience handling the canon of Gilbert and Sullivan is evident throughout the performance. The cast handles the witty lyrics with just the right combination of dignity and naiveté towards the often absurd logic guiding their actions. The six fairies are a bundle of fun, thanks in part to Pauline Grossman’s choreography, and the aristocratic peers are equally capable in supporting the story’s amusing momentum.

Director Scott Kenison manages the story capably, drawing fine performances from the cast and handling the large cast numbers well. The production elements are well-done. The panorama of colorful fairy costumes designed by Eleanor Dicks and the bright set pieces of scenic designer Kathryn Pong set an appropriately environment for the light comic story.

Finally, be sure to arrive on time for a treat. Shawn Burke-Stover leads the orchestra in the full overture that manages both precision and color.

Iolanthe
By W. S. Gilbert and Arthur Sullivan
Directed by Scott Kenison
Choreography by Pauline Grossman
Music direction by Shawn Burke-Storer
Presented by Washington Savoyards
Reviewed by Steven McKnight

All Arts Review 4 U

The roar of the audience at curtain call for Jase Parker confirms that he is the outstanding cast member of the Washington Savoyards' "Iolanthe" (To 4/5) at the Atlas Theater and the strong applause otherwise proves that this company continues to produce some superb musicals this season. Mr. Parker's fantastically clear articulation in the patter songs of the Lord Chancellor is superb and almost equally matched by John Dellaporta and Melissa Kornacki although most of the other cast members are in and out of good song articulation. Savoyard fans seemed accepting of blurred lyrics since they are so familiar with the verses. The musical is a totally delightful fairy land as a group of fairies mix with the British house of Lords and reverse the trend of death for any fairy that marries any of the royal ones. The best quality voices of the evening (which are really not required for G & S productions) were the soprano of Maria Barnes as Iolanthe and the mezzo of Melissa Kornacki as the Queen of the Fairies. The set pieces of colorfully huge flowers kept the stage bright along with the fine sensitive conducting by Shawn Burke-Storer. Pauline Grossman did magnificent choreography especially with the sextet of dancing female fairies and director Scott Kenison provided some dynamic cross directing in the full cast scenes. Eleanor Dicks provided wonderful swirling costumes for the fairies and perfectly staid costumes for the regals. This show is a frothy treat for the whole family which is not easily accomplished with current musical comedies with their sometimes vulgar language and situations. Although valet parking is available at the theater, be aware that street parking is very limited around the Atlas. There is also a shuttle bus available so check with the box office as to when and where. (Reviewed by Bob Anthony)

Washington Post

The Washington Savoyards' 'Iolanthe' at the Atlas Theater

Monday, March 30, 2009; 12:32 PM

See if you can keep this straight. Strephon (an Arcadian shepherd) is the son of Iolanthe (a wayward fairy) and the Lord Chancellor (a high-born mortal). Strephon, therefore, is part fairy (the top half) and part mortal (the bottom half). Phyllis (a shepherdess) loves Strephon. Strephon loves Phyllis, but so does the whole House of Lords. Mixed into this Gilbert and Sullivan romp are a gaggle of fairies, their queen and a gruff and proper Grenadier Guard. No surprise that everyone ends up happily paired off.

The Washington Savoyards' production of "Iolanthe," which opened for a two-week run at the Atlas Theater on Friday, though uneven and at times strange, is great fun nevertheless. It's worth a trip to the Atlas if only to see the delightful Jase Parker as the Lord Chancellor. He's a wonderful comic, moves magnificently and has the character down perfectly.

Only the band of fairies, who come across as hyperactive, overstimulated flower children, is evidence of director Scott Kenison's decision to set the action in 1968. The befuddled peers seem to leap from decade to decade, first appearing as 1920s-era cricket-playing noblemen, then as the Victorian lords that Gilbert conceived, and finally as dapper contemporary businessmen. Strephon and Phyllis seem comfortably and timelessly suburban, and the Lord Chancellor, Guard and Queen are happily Victorian throughout.

Maria Barnes as Iolanthe, Annie Gill as Phyllis and Melissa Kornacki as the Queen of the Fairies sang well and grew into their comic timing as the evening went on. As two Earls, Sean Pflueger and Ronnie Hardcastle engaged in sparkling repartee. Rob Thompson was a splendid Guard. The fairies were too strident for my taste but full of energy, and the peers were delightfully stodgy. As Strephon, however, John Dellaporta seemed oddly disassociated and worried. He sang well enough, but it never seemed as if he was focusing on what was going on. Conductor Shawn Burke-Storer paced things nicely, and sets and costumes were simple and effective.