By David Gordon

Hearing that “Iolanthe,” which opened October 27 at the John Cranford Adams Playhouse, is a Gilbert and Sullivan opera from the 1880’s, it’s easy to be turned off. How could a show written so long ago have any relevance today? You’d be surprised. Gilbert and Sullivan, whose work has been parodied in almost all mediums, from “Animaniacs” to the new drama “Studio 60 on the Sunset Strip,” have managed to create a political satire that, despite being set in the Britain of the past, could be placed anywhere and is essentially timeless.

“Iolanthe” has a very simple plot, constructed in the “boy meets girl, boy loses girl, boy gets girl” style. Prior to the show’s start, Iolanthe, a fairy, has been banished for life by the Fairy Queen for marrying a mortal. Her son, Strephon, half-fairy, half-mortal, has fallen in love with Phyllis, a ward of the Lord Chancellor of the House of Lords, all of whom are in love with her. Phyllis does not know of Strephon’s secret, or that fairies never age. When she sees him kissing a woman who doesn’t look more than seventeen, she is instantly turned off, believing that Strephon has not been faithful. To seek revenge, the fairies send Strephon to the Parliament and make the peers pass any bill he chooses. Lovers quarrel, secrets are revealed and the happily-ever-after ending rings true. The production benefits from a phenomenal ensemble, made up of students in the drama department, many of who seem like trained opera singers. The girls (the fairies) are all enormously talented. They have great chemistry and blend very well together to sing the difficult score (opera is harder than traditional musical theatre). Missy Dowes has a very clear and pretty voice, as does Kat Heverin as the title character. They get through the score without the bat of an eyelash – err – the bat of one of their wings. Krystal Roccaro steals the show as the comic Fairy Queen. though the male ensemble, the Peers, don’t sing as strongly as the women, they make up for it in comedic timing. Among the standouts are Tyler Richardson as Strephon and Anthony Preuster as the Lord Chancellor, who, as the male equivalent of the Fairy Queen, steals every scene he’s in. Preuster even finds a great venue to show off an uncanny imitation of Al Jolsen. As Lord Chancellor’s lackeys, Jordan Hue and Shane Lacoss are hilarious.

James Kolb has seamlessly staged a very charming and fluid production. You are never bored watching the show and there is always something happening, even if it is an oddly placed firefighter rising from the orchestra pit. Whitney Stone’s choreography is a lot of fun to watch. Musical director Eric Baum has worked wonders with the fantastic cast, many of whom could go onto a career as opera singers. The orchestra, under Baum’s baton and on a floating band-shell, is in great shape, getting a rousing round of applause by the finale. David Henderson’s set design and Matt Rubin’s lighting are perfect and fit very well. Cheryl McCarron’s costumes are exquisite, perfect for the time period, and even manage to bring out the many virtues of the female ensemble, aside from their lovely voices.

Iolanthe has something for everyone, from opera fans to fans of political humor. Despite its short run, it’s not to be missed.

Photo by Sarah Perlin