Artistic Director: Jacqollyne Keath
Music Director: John Arsenault
Choreographer: Tamara Jaune
Co-production managers: Lyn Verra-Lay & Ann Meitz
Iolanthe, a fairy, has married a mortal. Horror! For this crime she was exiled
by the Queen of the Fairies, and has lived at the bottom of a pond for 20
years. Her son Strephon, who is half fairy and half mortal, has grown up as a
shepherd. He wants to marry Phyllis, a Ward in Chancery. She loves him, but
does not know he is half fairy. Of course the Lords of Chancery all love Phyllis and
want to have her for themselves. Does Iolanthe get released from her exile?
Does Strephon tell the truth about his family history? Who gets Phyllis?
Anvil Centre Theatre
May 16 to 20, 2018
Incompetence. Snobbery. Witless bureaucracy. Some things never go out of style.
While the obvious hilarity of fairies rubbing elbows with ineffective politicians doesn’t necessarily resonate with contemporary audiences the way it did in Victorian times, Gilbert & Sullivan (G&S) shows carry themes that still resonate today. G&S comedic operas have great fun with the idea of people who rise to power who are untrained and incompetent, and control everyone else. That’s a joke that never dies.
President Barbie Warwick of FVGSS – A Musical Theatre Company (Formerly the Fraser Valley Gilbert and Sullivan Society) believes in preserving the cultural history G&S brought to the world of theatre, despite the challenges: “One of the greatest struggles in mounting a Gilbert and Sullivan show in 2018 is the fact that the popularity has waned over the past few generations.” Warwick explains, “People who recognize the name G&S are either over 70 years old or ‘music geeks’. The majority of the population isn’t familiar with them. This is a shame because Gilbert and Sullivan were so ahead of their time and their shows are very relevant to today’s society. They push against cultural mores and they use their wit to take the establishment and politicians to task.”
FVGSS is a Surrey-based non-profit organization, committed to producing amateur shows to a professional standard, and keeping the Gilbert & Sullivan shows alive and relevant to today’s audiences. They produce Pantomimes each Holiday Season, and bring the topsy turvy world of G&S to the stage in the spring. Since 1982 many members of FVGSS return year-after-year to bring the works of G&S to life. Lyn Verra-Lay was a fairy in the society’s 1996 mount of Iolanthe, and will return behind the scenes as co-producer for the 2018 production.
Verra-Lay started as a musician with FVGSS in 1988, but moved to the stage by the end of that year. “The family atmosphere led to me to recruit my husband and children; they’ve been involved in many of the productions on and off-stage. I’m thrilled to still be involved 29 years later.” Verra-Lay’s daughter Elisabeth co-choreographed her first FVGSS pantomime in 2017, with Verra-Lay as a chorus member.
This season, FVGSS is producing Iolanthe, the fantasy tale that, bizarrely, brings together fairies and the House of Lords. Directed by Jacqollyne Keath, with music direction by John Arsenault and choreography by Tamara Jaune, love, treachery and death lie at the heart of the tale of Iolanthe. It tells the story of a fairy who fell in love with a mortal. Their son has fallen in love with a ward of the Lord Chancellor. Unfortunately, the path of true love rarely runs smoothly and fairy intervention in the House of Lords causes chaos, as it would.
FVGSS’s Iolanthe ran May 16 to 20 2018 at the Anvil Centre (777 Columbia Street) in New Westminster.
Special thanks to our sponsors for supporting community theatre
THE 2017 FAMILY PANTOMIME
Written By Mike Balser & Barbie Warwick Adapted from original script by Peter Zednik
Artistic Director: Mike Balser & Jeff Christensen
Musical Director: Timothy Tucker
Choreographers: Tamara Jaune & Elisabeth Lay
Young Calypso is obsessed with the world above the waves. This causes problems in the undersea world ruled by the sea witch Ursula especially since Calypso is a mermaid. Even worse, she has fallen in love with a human prince she rescued from a terrible storm! Calypso is determined to find a way to be with her love, even if it means leaving the sea and making a deal with evil Ursula. To top it off, Prince Airwick has his own troubles, with an overbearing mother and two scheming ministers out to skim the royal treasury for as much as they can take. Will Calypso’s friends, like Shellie the Crab, Katy Perrywinkle and of course her helpful, if slightly menacing Codfather, be able to turn the tide in her favour? Find out at
Song and dance, comedy and heartbreak, a little historical documentary thrown in for good measure… A Day in Hollywood, a Night in the Ukraine was the perfect double feature, encompassing real pathos and perfectly ridiculous entertainment in its wide scope.
In the first act, an intrepid team of ushers and usherettes at the historic Grauman’s Chinese Theatre act as hosts and narrators, leading the audience through origin stories, song history, backstage gossip, and stern warnings set to militant tap-dance. In the second act, the audience enters the Theatre itself, and enjoys a deliciously absurd Marx Brothers comedy, complete with piano solos, screaming blondes, an obligatory love plot, patter songs, and the “gookie” face.
This clever, heart-felt pastiche of 1930s Hollywood glory is a fantastic showcase for a small, triple-threat ensemble. The “Marx Brothers” movie “A Night in the Ukraine” is a clever reworking of Chekhov’s The Bear by Dick Vosburgh, and the score by Frank Lazarus, Dick Vosburgh, and Jerry Herman features Jeanette MacDonald mocking “Nelson,” the terrific Groucho number “Samovar, the Lawyer,” and the tarnished gold of broken Hollywood dreams in “The Best in the World.”