Gilbert and Sullivan's 'Iolanthe' Delights

The Harvard-Radcliffe Gilbert and Sullivan Players combine music and magic in their performance of “Iolanthe, or The Peer and the Peri,” which runs in Agassiz Theatre through Dec. 14. Directed by Benjamin T. Morris ’09, “Iolanthe” satirizes politics, laws, and even love, while still maintaining a light and whimsical tone. Though “Iolanthe” tackles serious themes, this production’s strong performances consistently highlight the humor inherent in those themes.

In the operetta, the fairy Iolanthe (Bridget Haile ’11) has been banished from fairyland for the awful crime of marrying the Lord Chancellor, a mortal. Her half-fairy son, Strephon (Aseem A. Shukla ’11), falls in love with the beautiful Phyllis (Anna Ward), the ward of the Lord Chancellor (Matthew C. Stone ’11). But the Lord Chancellor will not consent to their marriage because he, as well as many in the House of Peers—a satirical portrayal of British Parliament—are in love with Phyllis. After the fairy queen (Meghan D. McLoughlin ’09) pardons Iolanthe for her crime, Strephon appeals to his mother for help in gaining Phyllis’ hand. The situation and the complications that follow provide plenty of fertile ground for satire.

Throughout the play, the performers elicited laughter by rendering situations outrageous while still remaining true to their characters’ intentions. Stone gave a notable performance as the Lord Chancellor, especially during a scene when he changes costumes—from a judge’s robe to a candy cane-like robe and cap—to sing about his unrequited love for Phyllis. This scene transitions into the cheerful “If You Go In,” performed by two other Lords (Benjamin J. Nelson ’11 and Jonathan P. Finn-Gamino ’12). The song’s comical lyrics and dancing easily make it one of the most enjoyable, and the encores that follow are increasingly humorous, as the actors blend in different styles of dance, including tap.

Stewart N. Kramer ’12, who played the fairy queen’s love interest, Private Willis, also developed the comic potential of his role fully. Kramer, who begins the second act with “When All Night Long,” builds on his comedic portrayal as a lovelorn soldier throughout the play, occasionally interjecting humor into other select scenes.

Scenes where the Peers and the fairies interact together are especially entertaining, as they combine personalities from two originally separate worlds together in dance and song. One particular scene in which the fairies, who are in love with the Peers, both lecture the men and beg them not to go, showcases the talents of all the actors in the show. The fairies featured the strongest and most compelling voices, especially Haile as Iolanthe, McLoughlin as the fairy queen, and Ward as Phyllis.

Most of the choreography of the play seemed aimed to enhance the comedic value of the operetta, which it accomplished successfully. Still, the opening scene, in which a few fairies repeated the same steps over and over again for an extended period of time, seemed disjointed from the rest of the play.

The productions’s set and costumes were some of its greatest strengths. The set, designed by Stephany Y. Lin ’11, successfully captured the feeling of a dream-like, enchanting forest with its painted border and two trees made with incredible texture. Change in setting was signified gracefully by a switch in backdrop, particularly when the silhouettes of a forest became one of a city to indicate a move from the forest to London. Costume designer Antonia M. Pugilese ’12 emsured that the fairy costumes were appropriately sparkling and whimsical. The costumes of the Peers were equally suitable, consisting of suits complete with red capes and crowns.

With its capable acting and visual appeal, “Iolanthe” was a thoroughly enjoyable production, delivering its satire, wrapped up in entertaining characters and lively music, in a manner that does justice to its Gilbert and Sullivan roots.