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Iolanthe

 
Richard Beck Review by Richard Beck 4 Published: 23 Feb 2026 Wilton's Music Hall Show Dates: 17 Feb 2026-26 Feb 2026

With an adulterous king on the throne, a prince stripped of his title and under police investigation, along with a disgraced peer of the realm, Gilbert & Sullivan’s satire of power, privilege and parliamentary democracy, wrapped around a story of forbidden love, resonates as much today as it would have done when Iolanthe was premiered in 1882, though by modern standards the mockery is mild. Back then the audience might also have been distracted from the lyrics by seeing the first production ever to be lit entirely by electricity, allowing for a range of new effects.

A joyous, if minimal production

It’s a trivial story of the improbable surmounted on the impossible. The lower echelons of the fairy world are lamenting the banishment of their dear friend Iolanthe (Eleanor O’Driscoll) for having married a mortal, contrary to fairy law. Her son, Strephon (Matthew Palmer), top half fairy, bottom half male, about whom the father knows nothing, is an Arcadian shepherd who has fallen in love with Phyllis (Llio Evans), whom he wants to marry. She, however, is a Ward of Chancery, well known to their lordships for her beauty and sought after by them all. As fairies don’t age, events take an unfortunate turn when Phyllis sees Strephon embracing a seemingly young woman who, unbeknown to her, is his mother. Chaos and confusion ensue before all is inevitably resolved after a few more revelations.

What director John Savournin doesn’t know about performing and directing G&S probably isn’t worth knowing, and he’s assisted by revival director James Hurley. Designer Rachel Szmukler’s centred Palace of Westminster bookcase, looking a little isolated, cuts the stage’s depth, so that Savournin moves the action forward with maximum use of the double apron and split levels. This makes for a more intimate production, though cutting the large chorus of peers and fairies is a loss. Simplicity is the order of the day. We have the company’s own chamber orchestra under the enthusiastic baton of David Eaton. Ben Pickersgill’s lighting rises to the challenge of Wilton’s Music Hall's vast expanse, while Molly Fraser’s costumes are imaginative and functional.

The show abounds with opportunities for virtuoso performances and these were not missed. Matthew Kellett, as the Lord Chancellor, fulsomely expressed his embodiment of the law, comically telling his story in When I went to the Bar and faultlessly delivering the nightmare tongue twister When you’re lying awake. Meriel Cunningham, as the controlling Queen of the Fairies, used the depths of her powerful contralto to create a figure not to be contradicted. She is fully controlling yet merciful at the bidding of the harmoniously matched, giggling fairy duo Celia and Leila, played by Sarah Prestwidge and Martha Jones, into which O’Driscoll blends perfectly.

Back in the real world, Evans and Palmer give vocally powerful, assertive performances, with the latter doubling as Willis the librarian and giving a delightful rendition of When all night long a chap remains… to open the much faster-paced Act Two. The fine-voiced David Menezes entertains throughout as Earl Tolloller, but it is the brilliant gender change from Earl to Lady Mountararat that allows Catrine Kirkman to give a highly amusing Thatcherite interpretation of the role.

Charles Court Opera, with a wealth of experience and well-versed performers, deliver a joyous, if minimal, production that celebrates the remarkable collaboration that bequeathed us lyrics that flow easily from comedy to heartache and music that has us still singing memorable melodies weeks after the show.

Amir Nisi

Richard Beck

A graduate in theology and education, Richard acted and contributed to dance, drama and music productions throughout his teaching career. He joined Broadway Baby in 2014 and is now our Editor-in-Chief. He usually disappears to warmer climes for the winter to pursue his passion for travel.

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The Blurb:

The “masters of G&S” and Off West End award winning Charles Court Opera, return to Wilton’s to present their enchanting production of Gilbert & Sullivan’s sharp satire of power, privilege and parliamentary democracy. 

The production is directed by renowned operetta specialist John Savournin, whose recent productions include The Merry Widow and Trial by Jury for Scottish Opera, Opera Holland Park and D’Oyly Carte and CCO’s recent production of Patience. 

This witty and magical operetta tells a tale of forbidden love causing an absurdist fusion of two worlds – the magical fairies of Fairyland and a bamboozled House of Peers. Featuring some of Sullivan’s most glorious music, including ‘Oh foolish fay’, ‘If you go in, you’re sure to win’ and what is popularly known as ‘The Nightmare Song’, audiences can expect an evening of first class entertainment and riotous fun suitable for all ages. 

With a cast including familiar favourites to CCO audiences, this beautiful production is not to be missed.

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