Review: Iolanthe at the 31st International Gilbert & Sullivan Festival
Buxton Opera House – 10th August 2025
When John Savournin is at the helm, expectations are naturally high – Iolanthe at The 31st International Gilbert & Sullivan Festival more than lived up to them. Directing the National G&S Opera Company’s first staging of the opera since 2022, Savournin kept faith with the traditional structure this fantastical satire, letting the magic of the fairies and the absurdity of the peers shine exactly as intended.
Sullivan’s melodic riches and Gilberts razor-sharp political wit in the libretto, has long been a favourite in the G&S canon. Here, the combination of crisp direction, vivid performances, and orchestral sparkle proved irresistible to the, at times, raucous audience (we were one of them!).
A Magical Overture
From the first notes of the overture, conductor James Hendry set a thrilling pace. His baton danced with infectious energy, and the National Festival Orchestra responded with bright, buoyant playing.
The packed Buxton Opera House audience clearly relished seeing Iolanthe return to the professional arm of the festival. Applause, laughter, and cheers erupted from the opening chorus, and the atmosphere never dipped.
Enchanting Performances
The whimsical plot follows Strephon, a half-mortal shepherd, whose fairy mother, Iolanthe, was banished for marrying a mortal. When the fairies go head-to-head with the peers of the British Parliament, romantic entanglements and constitutional chaos follow.
Casting was spot-on. Irish soprano Kelli-Ann Masterson brought warmth and radiance to Phyllis, her voice soaring with lyrical charm. Felix Kemp was an ideal Strephon – a commanding baritone presence with a sympathetic, youthful energy.
Meriel Cunningham’s Iolanthe was both dignified and tender, her rich mezzo tones perfectly suited to the character’s gravitas. As the Queen of the Fairies, Gaynor Keeble was a delight: her crystal-clear diction and regal bearing confirmed she was made for the role.
Comedy and musical precision combined to perfection in Simon Butteriss’s Lord Chancellor. His rendition of “When I went to the Bar” drew knowing laugher, but it was the show-stopping “Nightmare Song” – delivered at breakneck speed with immaculate clarity — that earned some of the night’s loudest ovations.
Festival stalwart Bruce Graham gave a scene-stealing cameo as the philosophical Private Willis, greeted with huge cheers on his entrance. James Cleverton (Earl Mountararat) and Adam Sullivan (Earl Tolloller) were a glorious double act, their operatic credentials shining through in every perfectly balanced duet.
Sparkle and Style
Visually, the production was a treat. The fairy chorus glittered under the stage lights, each costume sparkling with otherworldly charm. The Queen’s glistening gown was especially striking, underscoring Keeble’s majestic presence. The peers, in all their pomposity, looked suitably grand – and faintly ridiculous – as they bumbled across the stage.
The cast’s curtain calls were prolonged and joyous. No one seemed ready to leave — not the performers, and certainly not the audience.
A Triumph of Tradition
First performed in 1882 at the newly electric-lit Savoy Theatre, Iolanthe remains a dazzling blend of satire and fantasy. This 2025 revival proved that, 143 years on, Gilbert and Sullivan’s wit, warmth, and musical genius are still as fresh as ever.
The National G&S Opera Company has once again delivered a production that is both faithful and fizzing with life — a glittering festival highlight, and a resounding five-star triumph.
A must-see not only for devoted G&S fans, but for anyone who loves great musical performances.
Performance Dates
There are two more performances at Buxton Opera House as part of the 31st International Gilbert and Sullivan Festival:
Wednesday 13th August 2025, 2.30pm and Saturday 16th August 2025, 7.30pm. Tickets are priced from £29. Click HERE for more information and book tickets.
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