Steadstyle Chicago
	August 2008 Theatre Review by Joe Stead
	Looking for a Ticket Broker? Check out the hottest broadway tickets from Gotickets.com Iolanthe Critical Evaluation: *** out of **** Those who like their Gilbert and Sullivan straight up (full orchestra, lavish production values, legit voices and reverence for the original Victorian period), Light Opera Works is a pretty safe bet.  And this year's operetta, sandwiched between two Broadway classics and one revue, is the infrequently performed "Iolanthe," a good match for the lush LOW production standards.  A mix of supernatural whimsy and British politics is the prime vehicle for Sir William S. Gilbert's droll folderol, and it's hard to imagine Sir Arthur Sullivan's effervescent musical score in finer hands than Conductor Roger L. Bingaman and the rich 26 piece orchestra. The seventh of the Savoyairds' 14 eternally popular collaborations, "Iolanthe" is a perfectly respectable middle-of-the-road piece for G&S.  Those familiar with "The Pirates of Penzance," "The Mikado," "H.M..S. Pinafore" or any of the other works by this most successful team of 19th Century Brits will recognize plot, character, lyrical and musical parallels to their other work.  That is partly due to the fact that Sirs William and Arthur were writing for a stock ensemble of familiar "types".  Plus it's pretty hard to argue with a successful formula that reaped them sizable fortunes if not always critical adoration.  There's disharmony in fairy land, as we learn how the title character came to be banished to the bottom of a river to keep company with the frogs.  Her crime?  It seems that 25 years ago Iolanthe loved and married a human being and even bore a son before receiving her harsh sentence by the Queen of Fairies.  That son Strephon, now grown and engaged to be married, is faced with the dilemma of being half human (his bottom half) and half fairy.  Since fairies are immortal and never age, that means his lower extremeties are destined to age and die while his own mother looks quite several years his junior.  This bit of folly brings out the feminine jealousy of his intended Phyllis, herself a ward of Britain's House of Lords, all of whom would be most happy to make her their wife. The plot and its execution are beyond silly, and those unaccustomed to the antiquated British vocabulary favored by Gilbert may have trouble following the lyrics, particularly when sung in breakneck choral fashion.  That said, this is a very pretty and faithful rendering, as Stage Director Kurt Johns and Artistic Director Rudy Hogenmiller pay homage to the centuries old traditions of the D'Oyly Carte classic productions.  There's not a lot of opportunity for Hogenmiller's choreographic talents to shine, but his "musical staging" certainly keeps the merriment flowing.  And the voices of the entire cast are superb. It is always a treat to see the spry and distinguished veteran actor James Harms, blithely cavorting through the tongue-twisting patter numbers of The Lord Chancellor, and the handsome tenor Colm Fitzmaurice charmingly straddling the mortal and fairy worlds as Strephon.  Jessye Wright is shimmeringly radiant as his fairy mother Iolanthe, and Alicia Berneche is fetching as the conniving apple of his eye.  The male chorus is especially robust here, with notable standouts from Bill Chamberlain and Alex Honzen as friendly rivals for young Phyllis' hand.  It's a lovely looking performance, with Costume Coordinator Darcy Elora Hofer providing plenty of whimsy and sparkle (the Lords' capes even have their own choreography).  Lighting Designer Andrew Meyers beautifully shapes Courtney O'Neill's cut-out set.  The sound is crystal clear, a rarity at Cahn Auditorium, with some eerie reverb thrown in for mystical effect in certain spots by designer Miles Polaski.  "Iolanthe" is a silly little trifle, but Light Opera Works gives it a beautiful production. "Iolanthe" plays through August 24, 2008 at Cahn Auditorium, located at Sheridan and Emerson in Evanston.  The performance runs 2 hours 40 minutes with intermission.  Performances are Sundays and Wednesday at 2pm, Friday and Saturday at 8pm.  Tickets range from $29 to $85, with discounts for those 21 and younger.  Light Opera Works continues its 28th season with "Side by Side by Sondheim" September 28-November 9, and "The Music Man" December 26-January 4.  Call (847) 869-6300 or visit www.lightoperaworks.com.    Iolanthe is Low-Tech But High Energy Review by Ruth Smerling Can you imagine a time without a multitude of entertainment choices?  No Las Vegas, no high tech movies, no rock music, no cable, no portable video games.  Going to the movies meant seeing one movie that ran for months.  People went to the theatre back in the day.  Everything was live.  A good show was filled with joyous lyrical songs that stayed with an audience member through times that weren’t so pleasant.  Despite all the scientific achievements and all the innovations in entertainment, we still crave the magic and oomph of a good Gilbert and Sullivan.  Thankfully, Evanston’s Light Opera Works strikes that chord in our hearts this season with an incredible production of one of the lesser known but most profound G&S blockbusters, "Iolanthe," a hilarious comedy that pokes fun at Parliament, relationships and tickles the fancy with its comic ballet, triumphant melodies and pointed staccato lyrics. Iolanthe (Jessye Wright) is a fairy with a heart of gold.  She made the mistake of falling in love with a mortal.  Not just any mortal, the Lord Chancellor (James Harms).  This is a little bit worse than Samantha and Darren’s dilemma, the penalty for a fairy mixing with mortals is death.  Fortunately, the Queen of the Fairies (played by the promising young diva, with a voice that could calm a lion and melt a glacier Veronica McHale), adores Iolanthe and commutes her death sentence on the grounds that she leave her husband at once with no explanation.  She  must just vanish.  Iolanthe has a wonderful son, Strephon (Colm Fitzmaurice).  He’s grown up and gainfully employed as a shepherd.  He wants to marry the lovely Phyllis (Alicia Berneche) who hasn’t got a clue that he’s a fairy from the waist up, but a mortal from the waist down.  Despite his lofty brain, he must walk among the not so pure, crafty and calculating common folk.  Phyllis is a ward of Chancery and the Lord Chancellor will not consent to their marriage.  Suddenly Parliament gets involved only to complicate things more, every member has fallen in love with Phyllis and given her the option to select someone to marry from among them.  It looks really bad for Strephon.  Plus, when Phyllis spots him being comforted by his mother, she hits the ceiling.  A fairy never ages.  Iolanthe looks even younger than Phyllis who believes she has stolen him from her.  Soon it become clear that laws must be enacted to get everyone on an even keel again.  The Lord Chancellor will have to relent and Iolanthe may have to break a lot of hearts by revealing herself in the process.  There is never a dull moment in this taut, breathtaking comedy with everyone having to beat the clock before the axe falls.  "Iolanthe" was originally performed in 1882.  For its time it was a high tech show, being the first to utilize electric special effects, as each fairy was fitted with a pair of electric wings that glowed in the dark theatre to the awe and amazement of its audience.   Director Kurt Johns would easily bring a tear to the eyes of Gilbert and Sullivan who may be smiling at him from a celestial distance.  He’s created a believable Arcadian world in this production fueled simply on the high energy of brilliant voices, sidesplitting comedy and stunning costumes by Darcy Elora Hofer and a near Eden of a set by Courtney O’Neill. Nicole Miller helms the challenging role of dance captain.  "Iolanthe" not only pokes fun at politics, but at art as well, with the fairies jutting in and out in an awkward slapstick dance numbers that demand tremendous skill and impeccable timing.  "Iolanthe" is fun, thought-provoking and filled with familiar music that should be enjoyed live.  "Iolanthe" runs through August 24 at the Light Opera Works in the Cahn Auditorian, 600 Emerson Street, Evanston, IL.  Phone 847-869-6300 or visit LightOperaWorks.com for tickets and information.