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Events had boded well for Iolanthe from the start. The large numbers joining the society at the Freshers Mart. established a pool of talented and enthusiastic people that would form a strong basis for the society over the next three years. Chris Boot, having had a long association with the society, was brimming with ideas to put into practice as director. Even during Sorcerer the year before, the rehearsal room's black-board had been covered with his ideas for the set. We quickly discovered that our musical director, Duncan Barraclough, had a great talent for getting the best out of his singers whatever their previous experience. Shortly after Christmas he started rehearsing his team of musicians ensuring a polished and confident performance on the night.
For this production, Chris Boot dispensed with the raised apron stage and the orchestra found that their pit had been commandeered as Iolanthe's pond. Tabatha Cook as Iolanthe climbed out of this "pond" covered in slime to the accompaniment of various aquatic noises from the orchestra. Jen Woodward's Fairy Queen looked rather like a young Dame Edna Everage and there was considerable discussion as to where our technical wizard Mike Bradbury had managed to hide the effects radio-mike on her none too generous costume.
The entrance of the Peers chorus from the top of Central Hall processing down the steps either side of the audience was a most impressive sight. The chorus had been encouraged to develop individual characters, which included a punk fairy and a teddy-boy Peer. Sallv Morris was quite entrancing as Phyllis, I was beset by members of the audience asking for introductions. Playing the Lord Chancellor was great fun for me. I seem to remember that my props included a Teddy Bear called Theakston and a large collection of women's underwear. John Goodacre and Edmund Harris where convincingly blue blooded as Tolloller and Mountararat.
For the second act, the unused auditorium seating side-on to the stage was rolled forward to form the opposing benches of the House of Lords. James Merryweather opened the second act as Private Willis, defending the House of Lords with some stout-hearted playing on his bassoon. Strephon's song "Fold Your Flapping Wings" was included in the performance despite Gilbert and Sullivan having removed it from the score after early performances. Neil Drave's Welsh baritone voice carried the dark social comment perfectly. We were grateful to Hilary Dobson-Welsh for orchestrating it for us so beautifully. The Nightmare song was performed in front of a pageant enacting the various incidents in the dream. Keen followers of the society will have noticed that the Pinafore costumes came in useful. The sailors riding a representative selection of bicycle parts brought the house down every night.
The show was remarkable for its imaginative staging throughout. I think that the only parts of Central Hall we didn't act in were the lighting Gallery and the Foyer. Martin Atkins' lighting was as professional as ever, coping excellently with the demands of lighting a large playing area with a limited number of lanterns.
It was a show which was much enjoyed by the audience, and, perhaps most importantly, by everyone involved.
Patrick Couzens
(Chairman 1986/87)
