Iolanthe, English National Opera review: A bring-the-whole-family production
ASKING a director of hit film or theatre to have a go at operas is a bit of a risky strategy. So is putting on Gilbert and Sullivan in a modern opera house.
The latest production by the English National Opera at the Coliseum does both of those things and the result is one of the most glorious romps seen there in recent years.
Cal McCrystal made a name for himself directing One Man, Two Guvnors and has since earned great acclaim with the films Paddington and Paddington 2, but his Iolanthe in many ways surpasses even those in comic inventiveness.
This operetta is some way from being one of Gilbert and Sullivan’s best.
It does not have the infectious, ludicrous jollity of a work such as The Mikado, and most of its musical numbers lack the instant appeal of those of The Pirates of Penzance or HMS Pinafore, but such deficiencies have given McCrystal the chance to fill the gap with endless gloriously funny twists.
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This is truly a bring-the-whole-family Iolanthe for the 21st century. I loved it
From an introduction by a mock fireman, who later keeps popping up with extinguisher to put out any onstage fires created by the Fairy Queen, to a singing cow, a puppet dog, and a unicorn, whose horn is pulled down to pour the Queen a pint of beer, to sheep pulled by Japanese-style puppeteers dressed in black, whose uniforms unfortunately make them unable to see what they are doing, McCrystal injects glorious farce into the show whenever the action threatens to slow down.
McCrystal’s vision, he explains in the programme, was simply “to make a genuinely funny and joyful show,” and he succeeds spectacularly.
Some of his jokes are crude, some are repetitive, some are over-the-top, but it all adds up to a hugely enjoyable production.
I thought, at one stage, that his constant references to gayness almost every time “fairies” are mentioned was overdoing it a bit, but then I realised that overdoing it was what made the entire production so enjoyable.
An opera director’s real task is to add something to an opera that does not conflict with or detract from the original libretto and music, but where those are deficient in any way, to add a little something to give the audience a reason to enjoy it.
Iolanthe has plenty of such moments where a little extra is needed, and McCrystal never fails to supply something amazing.
The excellent ENO chorus has rarely seemed so effervescent, and Andrew Shore as the Lord Chancellor has a glorious time, getting away from the often sombre roles with which he has built such a fine reputation as an operatic baritone.
Getting the audience to join in one of his songs was not what one expects at ENO, but it worked magnificently to create a real music hall atmosphere.
My companion at the opening night brought her nine-year-old daughter who described it as the best thing she has ever seen.
With such a commendation, I cannot refuse it five stars. This is truly a bring-the-whole-family Iolanthe for the 21st century. I loved it.
Box Office: 020 7845 9300 or www.eno.org (until April 7)
