"Walk through the large wooden doors into Wilton's Music Hall, and you'll find a rabbit warren of bars serving cocktails, beer, wine and food. It's an intimate, atmospheric setting with stripped-down wood, bare plaster, and mismatched chairs and tables, making it a great place to meet up for a drink before the show. The Music Hall itself, spread across two levels, is a masterpiece of Victoriana."
"Iolanthe, first performed in 1882, sits at a fascinating turning point for Gilbert and Sullivan, with their earlier, lighter comic operas giving way to something more incisive and pointed in its satire. Blending fairy-tale fantasy with a gleefully irreverent portrait of the House of Lords, the piece takes aim at hereditary privilege, legal pomposity and the absurdities of tradition, all dressed up as comic opera."
"The minimal staging for Charles Court's Iolanthe, over two levels, with the orchestra tucked away to the side, has nothing more than a table and chairs in the lower space and a bookcase with a ladder above. Victorian lighting sets the tone, matching Wilton's ambience perfectly. The lights flicker, and two fairies, in white basques and matching wide pantaloons, appear."
Wilton's Music Hall offers an intimate Victorian setting with stripped-down wood, bare plaster, mismatched furniture, and multiple bars for pre-show drinks. The Music Hall spans two levels with wrought ironwork pillars and a compact stage that suits Charles Court Opera's production. Iolanthe, premiered in 1882, marks a transition toward sharper satire in Gilbert and Sullivan's work, combining fairy-tale elements with a caustic portrait of the House of Lords. The opera targets hereditary privilege, legal pomposity, and the absurdities of tradition while showcasing Sullivan's more confident music. Charles Court's staging is minimal, uses Victorian lighting, and presents fairies emerging in white basques and wide pantaloons.
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