Gilbert & Sullivan Festival Review: Whether it’s The Pirates Of Penzance or Iolanthe, Simon Butteriss is the very model of perfection, says Tully Potter

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The Pirates Of Penzance & Iolanthe (Gilbert & Sullivan Festival)

Verdict: Worthy tributes to two geniuses

Discovering that Simon Butteriss is singing the role of the Major-General in a G&S Festival program would be a sheer delight, but if you find out that he’s also playing the part of the Lord Chancellor, it would make the experience even more enjoyable!

As a devotee who adores the rich tapestry of musical theater, I can’t help but be utterly enthralled by Butteriss’s knack for crafting characters that are not just rooted in tradition, but also ingeniously attuned to contemporary nuances. What truly sets him apart, though, is his uncanny ability to elicit uncontrollable laughter – side-splitting humor that leaves me gasping for breath!

Although the character played by him as Major-General in The Pirates may seem slightly old-fashioned and dull, his role as Lord Chancellor in Iolanthe could suddenly burst into dance at any given moment. Moreover, his singing style is reminiscent of the classic Gilbert and Sullivan style.

The Buxton Opera House, known for its exceptional acoustics, makes it an excellent choice for performances that primarily feature a chorus of 16 members. This year’s shows put on by the main company are impressively cast, and I regret not being able to attend Princess Ida, which was scheduled later in the first week.

In the play “Pirates,” Mabel is portrayed by Rebecca Bottone, who hails from a renowned musical family. She’s not just a talented singer but also a witty and lively comedian. Moreover, her renditions of Sullivan’s coloratura are simply magnificent. As for the role of Frederic, William Morgan delivers a powerful performance, boasting a beautiful tenor voice and effortlessly navigating the stage.

As a lifestyle expert, I’d rephrase that for you in an engaging and conversational style:

“In my opinion, John Savournin, who both directs and sings as The Pirate King, might want to incorporate the thrilling trill he executed so brilliantly during an ensemble into his Act 1 performance. It would certainly add a unique flair to his portrayal of the character!

Matthew Kellett plays his role as a sergeant with a touch of humor, yet Amy J. Payne’s portrayal of Ruth might benefit from some deliberation over which of her two distinct vocal tones to use, as her sudden shifts between them can be somewhat unsettling.

The beautiful melody that Sullivan composed for Iolanthe left us spellbound. It’s believed that the recent passing of his mother may have influenced some of the music’s poignancy, as it includes captivating pastoral interludes and humorous segments like the Peers’ March or the ‘Faint Heart Never Won Fair Lady’ trio.

The very first opera performed at the Savoy Theatre, also opening simultaneously in London and New York on the same evening, was particularly advantaged by the innovative use of electric lighting. The fairies were adorned with miniature lights, which are believed to be the precursor of what we now know as ‘fairy lights’!

From the very beginning notes of the Overture, Sullivan paid meticulous attention, while Gilbert’s satirical humor peaked at its highest point.

The Festival’s cast, including Kelli-Ann Masterson as the radiant Phyllis and lyric baritone Felix Kemp portraying Strephon, has given their performances an extra depth with Masterson’s voice adding a warm richness and Kemp enhancing his already appealing timbre.

Meriel Cunningham is a touching Iolanthe, Gaynor Keeble a really queenly Queen of the Fairies.

Earls Mountararat, played by James Cleverton, and Tolloller, portrayed by Adam Sullivan, don’t just perform their songs with enthusiasm, they also share a lively camaraderie and playful banter on stage.

Having experienced soldier Bruce Graham portray the philosophical character Private Willis is an unusual advantage, and Savornin’s production is impressively inventive.

In this production, both the lead and supporting vocalists are exceptional. Additionally, Harriet Ravdin’s enchanting fairy costumes, the impressive performance of the National Festival Orchestra, and the conductorship by John Andrews (Pirates) and James Hendry (Iolanthe) are all noteworthy.

The overall performance was commendable with only a minor flaw – during the two shows of ‘Iolanthe’, certain sections of the ensemble’s rendition of ‘In Vain To Us You Plead’ were not audible.

Or simply:

The performances of Iolanthe were mostly excellent, but there was an issue with the audibility of some parts in ‘In Vain To Us You Plead’.

The G&S International Festival continues until August 16. Visit gsfestivals.org for information.

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2025-08-10 16:18