The society is marking its 100th show in the autumn of 2011 with a production of:
Iolanthe
Theatre get-in:
Sunday October 2nd
Dress Rehearsal Monday October 3rd.
Opening Night Tuesday October 4th.
Last Night Saturday October 8th.
Theatre get-out Sunday October 9th
Director - Alec Fellows-Bennett
Musical Director - Dorothy Worthington
Choreographer - Geraldine Barnett
The official NODA Show Report
Iolanthe must surely be one of Gilbert & Sullivan’s most bizarre story lines. That being said, when laid bare, its improbable plot could be labelled as touching on the genius. Alec Fellows-Bennett certainly illustrated his skill of imaginative direction with this production. A mystical ambiance was present from the onset, helped by complimentary lighting. Scenery was eye-catching, featuring an aquarium with a soft sound of trickling water and the appearance of a “floating” illuminated ball, retrieved by two fledgling fairies. All beautifully celestial.
An eclectic bunch of fairies, all seemly attired, introduced themselves with a fun, mischievous opening chorus. Strephon(Jason Salmon) and Phyllis (Grace McNeil) made a most attractive couple. Both gave animated performances with Phyllis in particular displaying excellent timing and turn of phrase. Iolanthe (Debbie Broome), while just teetering precariously on the periphery of ‘passing for seventeen’, proved herself to be a more than capable actress.
A hunting party of peers, comprising of a surprisingly healthy number of various aged males, announced their presence with a comical, suitably grandiose entrance, singing stoically, they managed the difficult timing with a unified, vibrant sound. Principal Lords, shared a wealth of acting experience, this ensured all their witty lines and jesting was brought firmly to the fore, with the story clearly told.
It was refreshing to see movement which looked as if it ‘belonged’ to the action, being well within cast ability levels, agreeably performed. Act two treated the audience to yet more visual delights, with a beautifully painted Houses of Parliament set and a sentry box, decorated to a standard that would have done Hilda Ogden proud, complete with three flying ducks. Cue the entrance of the productions secret weapon Private Willis (Geoffrey Ward), a more comical guardsman surely could not have been found, his final exit sporting a pair of wings was hilarious.
Despite the fact the Fairy Queen was taken ill after her first performance and a replacement continued the week reading from a script and tuning and timing was not as secure as it could have been in some vocal numbers, this was a super swan song for the director. Pretty as a picture with a refreshing modern slant. Pure entertainment.
(For more information follow this link to Wikipedia)
The Show ...
Gilbert had targeted the aristocracy for satiric treatment before, but in this "fairy opera", the House of Lords is lampooned as a bastion of the ineffective, privileged and dim-witted. The political party system and other institutions also come in for a dose of satire. Among many potshots that Gilbert takes at lawyers in this opera, the Lord Chancellor sings that he will "work on a new and original plan" that the rule (which holds true in other professions, such as the military, the church and even the stage) that diligence, honesty, honour, and merit should lead to promotion "might apply to the bar". Throughout Iolanthe, however, both author and composer managed to couch the criticism among such bouncy, amiable absurdities that it is all received as good humour. In fact, Gilbert later refused to allow quotes from the piece to be used as part of the campaign to diminish the powers of the House of Lords.
You can read more of this synopsis at Wikipedia
