What do faeries and Members of Parliament have in common? Iolanthe! We went to see this Gilbert and Sullivan operetta and loved it. The absurd idea of mixing ethereal fantasy with biting political satire works a treat in this glittering topsy-turvy masterpiece that almost didn’t happen.
Five years ago, a curtain was set to rise on a production of Iolanthe, but the stage went dark, and the “magical fairies” were put on hold during Covid. This season, the award-winning Charles Court Opera (CCO) is finally bringing their enchanting production of Gilbert & Sullivan’s sharpest satire to Wilton’s Music Hall.
So if you are looking for a night that blends high-class vocals with riotous, “all-ages” fun, this is the ticket to book. This show is suitable for all ages, and is the perfect introduction to the world of G&S for younger audiences.
The story is about Iolanthe, a fairy who was banished for the capital crime of marrying a mortal. Decades later, she is pardoned, only to find her half-fairy, half-mortal son, entangled in a romantic rivalry with the entire House of Lords over the hand of the lovely Phyllis. What follows is a riotous clash of worlds where fairies invade Westminster and the Lord Chancellor wrestles with his own legal conscience in a performance that bursts with satire and first-class musical entertainment.
The music is arguably Sullivan’s most lush and sophisticated score, seamlessly blending Wagnerian leitmotifs with his signature “patter” songs—most notably the Lord Chancellor’s “Nightmare Song,” a tongue-twisting tour de force of verbal gymnastics perfectly delivered by Matthew Kellett . And in this historic setting, the intimate chamber orchestra directed by David Eaton deserves a special mention for bringing this 150 years old operetta to life with such elegant precision.
The “Masters of G&S” Return
Charles Court Opera hasn’t just earned the title of “masters” by accident. Fresh off their critically acclaimed run of Patience (see our review here) , the company is known for stripping away the “dusty” reputation of operetta and replacing it with exquisite, fast-paced and hilarious storytelling.
Directed by operetta specialist John Savournin, this production promises a fresh energy. Savournin is joined by designer Rachel Szmukler to create a visual world that matches the magic of the score.
A stellar cast of favourites
The production features a “greatest hits” lineup of Charles Court Opera stalwarts and rising stars:
- Matthew Kellett: Returning as the Lord Chancellor after his award-nominated turn in Patience (read our review here).
- Meriel Cunningham: Bringing regal magic as the Fairy Queen.
- William Morgan: Joining the cast following his success in the English National Opera’s Pirates of Penzance.
- Catrine Kirkman: Bringing her comedic brilliance to the role of (Lady) Mountararat.
The ensemble is rounded out by a talented young cast including Eleanor O’Driscoll in the title role of Iolanthe, and Llio Evans as Phyllis.
Why Wilton’s?
There is no venue in London quite like Wilton’s Music Hall. As one of the UK’s leading chamber opera companies, Charles Court Opera knows how to use the faded grandeur of Wilton’s to make their productions feel intimate and immersive. Whether you’re an opera aficionado or a first-timer looking for a “hilarity with class” night out, this fusion of two worlds is set to be the highlight of the season.
Iolanthe is at Wilton’s Music Hall in London with evening (7pm) and matinee (2pm) performances running from 17 to 28 February 2026. Tickets from £7.50.