Rigoletto and Iolanthe

I have to admit it- I'm not really sure if I'm an opera fan. There are some I really love (La Traviata and Eugene Onegin being top of the list), others I wouldn't choose to listen to for fun but found really interesting and moving in performance (Jenufa), but there are many that leave me cold. Jonathan Miller's production of Rigoletto falls into the latter camp. It's something of a modern classic that's been revived numerous times since its premier in 1983 and judging by the performance I saw, I really don't see what's so brilliant about it. For one thing, it didn't sound right in English as the words seemed so banal. It didn't help is that the acting was lacklustre, the singing was nothing more than adequate and the soprano's voice was far too thin for a venue as vast as the ENO. Miller's great innovation is that he transports the action from sixteenth century Italy to 1950s New York and the set for Rigoletto and Gilda's apartment building was straight out of West Side Story. Gilda has to be the wettest blanket in opera- "Oh, my boyfriend is cheating on me and never really loved me, but because I love him sooooo much I'm going to die in his place." Get a grip, girl.

I'm very lucky that all the Gilbert and Sullivan shows I've seen to date have been beautifully sung and presented, but it's the kind of thing I enjoy well enough while the show is going on (though the baby switching twist in HMS Pinafore is just too much) but am quite happy to leave behind at the end. Although I love musical comedy, I've always found G&S just a bit too cutesy and contrived for my liking. I first saw this production of fairy and parliament operetta Iolanthe at the Rosemary Branch last year and it's even better now.  I knew there was a reason why I'd never been to the Pleasance Theatre in spite of the fact it's reasonably local- it's so convaluted to get to by public transport. A shame, as it's a very nice venue with really comfy sofas and the openness of the auditorium works beautifully.

One of the things I loved most about this was the attention to detail and the way that all the characters responded to each other and to all the crazy things going on. I shouldn't really single out anyone from the universally excellent cast, but the three adorable fairies, Fleta (Charlotte Wooll-Rovers), Celia (Karen Richmond) and Laila (Rosie Strobel- whose facial expressions reminded me greatly of Nessa in Gavin & Stacey- could Ness have had a secret career as a G&S star?? Interesting how Gilbert and Sullivan and Gavin and Stacey share the same initials...) stole every scene they were in, giggling and prancing like hyper eight year olds. Iolanthe herself was beautifully sung by Anne-Marie Cullum and the Fairy Queen, portrayed by Kristin Finnigan, was an majestic figure who also was a devoted and loving mother to her daughters. Director John Savournin was very sweet as love interest Strephon (though I missed the blue hair) and he and Georgia Ginsberg as his lady love Phyllis in her flouncy gingham frock and curly blonde wig made an adorable pair of young lovers. There was also a delightful turn by Simon Butteriss as the Lord Chancellor. The music was played beautifully by the Eaton-Young Piano Duo. I loved Mia Wallden's costumes, especially the fairies' brightly coloured ballet-style frocks. It all looked so fresh and vibrant, and the boat that Strephon and Phyllis sailed off in after their duet was a hilarious touch.

I'll never be a card carrying G&S fan (like I am with Sondheim), but for the first time in my life, I thought I might like to listen to more of their works for the fun of it. Something of a revelation.