Auditions for Iolanthe

Available Roles:

Principals:

Lord Chancellor (patter baritone)
One of the most demanding comic baritone roles of the canon, this role is also one of only two G&S characters based on an actual political office.  A romantic at heart with a mind debilitatingly shaped by the confounding logic of the law, the Lord Chancellor spends the better part of the opera in a rhetorical battle with the only attorney who can match his exalted position and talents: himself.   Gilbert’s take on the Plautine sennex lepidi, this role calls for a middle-aged performer with serious acting depth, wicked comic timing, and moderate-to-good dancing ability (or at least willingness to try).  Some familiarity with G&S and patter is essential, as his solo tour de force in Act II, colloquially referred to as “The Nightmare Song,” is the most difficult G&S patter number, and will require a practiced hand. 

Fairy Queen (contralto)
A premier contralto role in the Gilbert and Sullivan opus, the Fairy Queen is a commanding presence who inspires fear, awe, and deference at every turn.  Though larger than life in every sense of the word, and with a fierceness and gravity that underlies even her lightest moments, the Fairy Queen, like all the principal characters in this opera, has a fundamentally romantic nature that modulates some (but not all) of her harsher instincts.  This role calls for a true contralto who can command the stage vocally, and do justice to several slow, but important, ballads throughout the piece.  Minimal to no dancing, but serious acting chops preferred.

Strephon (lyric baritone)
The son of Iolanthe and the Lord Chancellor, he has his father’s rhetorical flourish and his fairy mother’s pastoral enthusiasm and simplicity.  A quintessential “young lover” in the model of the commedia del’arte stock characters gli innamorati, Strephon is filled with an earnest love for life, and for love itself.  Though originally written for a bass-baritone, the role of Strephon is traditionally cast as a young lyric baritone – and will be for this production.  Very light dancing required.

Phyllis (lyric soprano)
Ward to the Lord Chancellor, lover to Strephon, and object of the affections of Lord Mountararat, Lord Tololler, and the entirety of the House of Peers, Phyllis forms the other half of the “young lovers” (gli innamorati) along with Strephon. Possessing a wide-eyed earnestness that is tempered somewhat by the political calculations of choosing a mate from among the House of Lords, Phyllis pairs her romanticism with an endearing rustic humility that makes her a perfect match for Strephon.  This role calls for a traditional G&S lyric soprano type, though with slightly more dialogue and slightly less singing than is typical.  Very light dancing required. 

Lord Montararat (bass-baritone)
Deputy Leader of the House of Lords (presumably), Montararat is a stuffy, pompous buffoon who shows deference to those above him and contempt to those below.  What he lacks in brain cells he makes up for in officiousness and faux courtesy.  Despite this less-than-flattering description, Montararat is an endearing clown whose symbiotic friendship with Tololler is one of the continuing highlights of the opera.  Excellent comic timing and moderate dancing required.

Lord Tololler (tenor)
Leader of the House of Lords, Tololler is equally stuffy, equally pompous, and an equal buffoon to Montararat.  Though ostensibly from different political parties, there is, in fact, no discernible difference between Tololler and Montararat other than vocal range; they are, perhaps, the most perfectly matched couple in the opera. Excellent comic timing and moderate dancing required.

Iolanthe (mezzo-soprano)
This eponymous fairy exudes a world-weary melancholy that far exceeds her years.  Forced to make a series of profoundly self-sacrificing choices for the benefit of those she loves, Iolanthe herself seems to come from another, more tragic opera.  This role calls for a younger actress who can realistically convey a depth of meaningful emotion through limited dialogue and short, pointed arias.  Serious acting and vocal chops required, but no dancing.

Private Willis (bass-baritone)
Only appearing in Act II, this Grenadier Guardsman is a model of duty and valor.  He is the object of the Fairy Queen’s affections, for reasons no one can quite understand.  Though with very little to say or do, Private Willis makes a large impact; his aria is perhaps the best Act II opening of any G&S opera.  No dancing and very little dialogue required, but a powerful bass-baritone voice is essential.  Like the titular role in The Mikado, Private Willis should ideally be played by an actor with some distinguishing physical feature (extremely tall, extremely short, etc).  

Celia (soprano)
A leader among the fairies, Celia is the embodiment of the curiosity and giddy revelry that characterize the fairy chorus. She’s a bit of a ditz.  In addition to dialogue and solos, Celia appears in all numbers with the fairy chorus.

Lelia (mezzo-soprano)
Also a leader among the fairies, Lelia is more curious and vocal than Celia, and though Celia is the leader between them, Lelia tends to speak more often.  In addition to dialogue and solos, Celia appears in all numbers with the fairy chorus.

Fleta (spoken only)
Fleta is the youngest fairy, with the most to learn.  She has all the curiosity of Lelia, and all the ditziness of Celia.  Spoken lines only.  Fleta appears in all numbers with the fairy chorus.

Chorus

Fairy Chorus (treble ensemble)
A robust chorus of centuries-old beings who each appear to be about 17 years old, the fairy chorus is prominently featured throughout the operetta, exacting their particular brand of mischief and terror upon the men with innocent smiles and lightness.  Much aerobic movement and basic choreography required.

Chorus of Peers (tenor-bass ensemble)
An enormous chorus of condescending British nobility making up the House of Lords.  Though there is not a tremendous amount of dancing required, the Peers must be tremendous vocalists, as the men’s chorus sings some of the most difficult and impressive music Sullivan ever composed.