The Pirates Of Penzance & Iolanthe (Gilbert & Sullivan Festival)
Verdict: Worthy tributes to two geniuses
NOTHING could be more delightful than opening a G&S Festival programme to discover that Simon Butteriss is singing the role of the Major-General — unless you also see that he is portraying the Lord Chancellor.
Rooted in tradition, yet fully aware of the developments in musical theatre, Butteriss’s characterisations are, above all, side-achingly funny.
Whereas his Major-General in The Pirates is a tad doddery and fuddy-duddy, his Lord Chancellor in Iolanthe is liable to break into a dance at any moment. And his singing is in the great G&S line.
Buxton Opera House, with its fine acoustic, is an ideal venue for productions founded on a chorus of just 16 and this year’s presentations by the main company are very well cast — I was sorry to miss Princess Ida, later in the first week.
The very model of a modern Major-General: Simon Butteriss (Major-General Stanley) in the 2025 National Gilbert & Sullivan Opera Company’s production of The Pirates of Penzance
Mabel in Pirates is Rebecca Bottone, from a well-known singing family: she is a sassy comedienne as well as a splendid exponent of Sullivan’s coloratura. Her Frederic is also very strong, as William Morgan has a fine tenor and moves easily on stage.
John Savournin directs as well as singing the Pirate King: he might consider importing into his Act 1 air the trill I distinctly heard him execute in an ensemble.
Matthew Kellett is a droll Sergeant but Amy J. Payne, as Ruth, could profitably decide which of her two voices to choose — her changes from one to the other are disconcerting.
The life of a policeman is not a happy one: Matthew Kellett (Sergeant of Police) and the men’s chorus attempt to keep order in The Pirates of Penzance.
What an enchanting score Sullivan gave us for Iolanthe. The recent death of his mother surely accounts for the tenderness of some of the music, which has magical pastoral interludes as well as uproarious episodes such as the March Of The Peers or the ‘Faint Heart Never Won Fair Lady’ trio.
First of the Savoy Operas to be premiered at the Savoy Theatre — and the first show to open in London and New York on the same night — it benefited from the new electric lighting. The fairies sported tiny lights…the origin of ‘fairy-lights’!
There he is again: Butteriss also takes the role of The Lord Chancellor in the 2025 National Gilbert & Sullivan Opera Company’s production of Iolanthe
Lighting up the stage: Grace O’Malley (Celia, foreground) and the fairies in the 2025 National Gilbert & Sullivan Opera Company’s production of Iolanthe
Sullivan took great care from the first bars of the Overture, and Gilbert’s satirical bent was at its zenith.
The Festival cast is without a weakness. Irish soprano Kelli-Ann Masterson is a lovely Phyllis and lyric baritone Felix Kemp as Strephon has added a little more body to his very pleasing tone.
Meriel Cunningham is a touching Iolanthe, Gaynor Keeble a really queenly Queen of the Fairies.
Earls Mountararat (James Cleverton) and Tolloller (Adam Sullivan) not only sing their respective airs with spirit but have a good knockabout relationship on stage.
To have veteran Bruce Graham as the philosophical Private Willis is a rare bonus and Savournin’s production is resourceful.
The chorus and minor role singers are excellent, as are Harriet Ravdin’s fairy costumes, the National Festival Orchestra’s playing, and the conducting by John Andrews (Pirates) and James Hendry (Iolanthe).
Balance was good except (a tiny quibble) that at both Iolanthe performances I attended, parts of the ensemble ‘In Vain To Us You Plead’ were inaudible.
The G&S International Festival continues until August 16. Visit gsfestivals.org for information.
