“I am not insensible to manly beauty”
Sasha Regan’s Iolanthe, as it has been billed, is the latest of the now regular all-male Gilbert & Sullivan productions that the Union Theatre has put on and following the cat-like-tread of Pirates of Penzance last year, this also makes the transfer to the glorious Wilton’s Music Hall, tucked away in East London. It ranked as my 20th best show last year, the 9th best musical and one of its performers, Matthew James Willis made it to second place in the Best Supporting Actor in a Musical category of the fosterIANs so it was no surprise that a return engagement would be made to the show.
My review of the original production can be read here and I won’t recap it as much of what I said then remains as applicable now in how wonderful this show is in capturing a gorgeously innocent feel, free of sneering or post-modern archness which is no mean feat given the number of men dressed up as fairies singing falsetto. There’s a deep sincerity to these interpretations that is maintained here so that whilst there may be other productions that are better sung technically, I doubt there are any which have the same reverential irreverence, in perfectly capturing what G&S is about whilst going about it in a radically different way. This post will concentrate mainly on the differences between the two productions, a compare and contrast exercise if you will, although I won’t be focusing on how few shuttlecocks there were here by comparison. Continue reading “Re-review: Iolanthe, Wilton’s Music Hall”