The ensemble of the Gilbert & Sullivan Society of Maine's production of "Iolanthe" in rehearsal recently. The show opens Feb. 8 at The Grand in Ellsworth. ISLANDER PHOTO BY NAN LINCOLN

Fierce faeries confront pompous peers in new G&S Iolanthe



ELLSWORTH — For several decades now, the Gilbert & Sullivan Society of Maine has been providing theater-goers with the musical equivalent of comfort food to help see us through the dreary mid-winter months.

And really what could be more delicious in this season of hard-packed snow and treacherous ice than to enjoy our friends and neighbors portraying the antics of a bunch of British nincompoops as they sing their way through a highly improbable, romantic tale set in Victorian era England.

Truth be told, Messrs. G&S’s operettas with their silly premises and witty, satiric song lyrics are the precursors of Monty Python, Bean and, well, the best in British humor for more than a century. They are still themselves going strong in community and professional theater performances around the world.

So, anyone who would like a good two to three hours of laughter to get them through some grim weather and even grimmer times should consider a trip to the Grand Auditorium the weekends of February 8-10 and 15-17 to see this year’s production of “Iolanthe.”

For those who have not had the pleasure of a G&S operetta, Iolanthe is a terrific place to start.

Imagine a flock of fierce, misanthropic faeries, clashing with a parliament of pompous male peers, all of whom wish to marry the same maiden, who in turn is smitten with a man who — from the waist up — is half faerie.

Throw in some mistaken and secret identities and a few timely faerie curses, and you’ve got a hilariously horrible mess.

Directing this complicated kerfuffle is Dorothy Wheatcraft who, while relatively new to directing, has performed in several G&S Society operettas.

At a recent rehearsal Wheatcraft exhibited none of this directorial inexperience, as she maneuvered her cast of 30 or so about the stage for the final number, creating interesting groupings and patterns.

But getting her cast to their places is only half the battle here. The intention of their movements is equally as important to her.

“You men and you women suddenly find you have inadvertently wandered into close proximity,” she says. “You are horrified! You flee the scene in disgust!”

When it becomes apparent that several of the older cast members can’t effectively “flee,” Wheatcraft figures out a way for them stomp away a few moments earlier so they all arrive at their destination on time for the next bit of business.

Remember they are all singing while this is going on, so timing is hugely important.

None of this seems to daunt the director, who is also confident enough to edit and omit ideas, mid-stream, if they don’t work out. She gets her cast to go through the motions one or two more times until she is satisfied.

The explanation for her relative ease in this role may be found in her day job. As a Jackson Laboratory scientist, Wheatcraft also does a considerable amount of researching and teaching. She is used to getting large groups of people to a place of mutual understanding.

She is also a self-confessed “geek” when it comes to all things mythological, and Iolanthe is loaded with references to various mythologies, which she is attempting to underscore in her production.

“At our first rehearsal I gave all the main characters a card explaining what I wanted to bring out in the characters,” Wheatcraft said. “And they were all excited to try something new.”

Her Fairy Queen, for instance, played by G&S veteran Debra Hangge, will have elements of the winsome and petulant Titania from “Twelfth Night” and the more recent Disney bad faerie Maleficent.

While several of her principles, including Hangge, Irv Hodgdon, Roland Dube and Joe Marshall have 10, 20 or even 30 years’ experience with G&S roles, only baritone Marshall, who made his long-overdue G&S debut in Iolanthe some 15 years ago, is reprising his role as the Lord Chancellor.

Wheatcraft says he was completely on board for bringing something new to his character, rather than simply repeating what he had done in the past.

The director also encouraged her chorus of faeries to create their own individual personas both in behavior and dress, reminding them that faeries are immortal and have thousands of years of lore and mythology from which to choose.

In fact, those who have seen Iolanthe before will likely find this version quite different with subtle nuances and — in the G&S tradition— fun lyric changes that are more relevant to current events.

There is still lots of work to be done before opening night, but it appears that the combination of an enthusiastic new director and an experienced cast will work plenty of charm.

Performances for Iolanthe are Feb. 8, and 15 at 7 p.m. and 9, 10, 16 and 17 at 2 p.m.

‘Teaser’ performance

and lecture at Jesup

Members of the Gilbert & Sullivan Society of Maine will discuss their upcoming performance of “Iolanthe” and perform pieces from the show Friday, Feb. 1 at 7 p.m. at the Jesup Memorial Library.

They will also discuss the Victorian librettist W.S. Gilbert and composer Arthur Sullivan and the impact the duo has had on music, theatre, culture and literature. Cast members David Porter and Joe Marshall will discuss the show with director Dorothy Alf-Wheatcraft. They will perform select pieces from the show accompanied by musical director Sandy Blanchette on piano.

For more information on the Gilbert & Sullivan Society, visit gilbertsullivanmaine.org. For more information on the talk, contact the Jesup at 288-4245.

Nan Lincoln

Nan Lincoln

The former arts editor at the Bar Harbor Times writes reviews and feature stories for The Ellsworth American and Mount Desert Islander.
Nan Lincoln

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