Review: Princess Ida

Edinburgh University Savoy Opera Group, Princess Ida

Rating: ★ ★ ★ ★

Edinburgh University Savoy Opera Group's modern feminist and queer retelling of Gilbert and Sullivan's 'Princess Ida' performed at Pleasance Theatre was a breath of fresh air. Effortlessly funny and packed full of popular culture references and slapstick comedy, the ingenuity of the production made it a story of empowerment, female solidarity and a celebration of queer love.

The moment that Benji Castella McDonald as Hildebrand majestically twirled across the stage set the tone for a production filled with infectious laughter. The jokes seemed as genuine and spontaneous as if they were improvised, from the slapstick fights with the warriors to disastrous attempts of the men to masquerade as women. Such humour that felt natural and unscripted is indicative of the close-knit community across the whole cast - it was clear that they were having as much fun as the audience. Mishaps such as one of the warriors' hats falling off only added to the audience’s laughter. Moments when actors such as Jamie Argo broke the fourth wall when telling jokes kept the audience on their toes throughout the performance. Argo stole the show in every scene as Ida's unlikeable father and king Gama, with melodramatic theatrics that achieved outbursts of laughter.

Aarya Gambhir as Ida captured the sincerity of her rebellion against patriarchal control through leading a women’s university. Throughout the abundance of slapstick comedy, more heartfelt performances such as Gambhir's voice shining through in 'The World is But a Broken Toy' leave behind Ida's traditional function as a misogynistic joke. Ida is no longer used to ridicule female education and independence, instead representing female emancipation and empowerment. Hannah-Rose Laverick as Lady Psyche and Nina Birbeck as Lady Blanche commanded the stage with powerful voices; Birbeck received laughs from deliberately convoluted and confusing sentences. The band’s accompaniment allowed the singers to shine whilst also bringing the story to light. Other standout performances included Conor O'Dochartaigh’s portrayal of Hilarion, poking fun at the character's hysterics and obsession with Ida. The dynamic trio of O'Dochartaigh, Gemma Leach as Florian and Eedie Baker-Thompson as Cyril entertained the audience with their preposterous attempts to blend in as men at the university.

Andrew Morris Photography

Directorial choices by Beth Cunningham and Amrit Gill revitalised the operetta for a modern audience. Ida is no longer ammunition to fuel misogynistic criticisms of the Victorian educated and emancipated 'New Woman' as was the case in the original Gilbert and Sullivan operetta, but a pioneer of female education. Sarcastic humour inverting gender stereotypes was used to condemn archaic gender roles. The queer rewriting of the previously misogynistic 'love story', despite being slightly rushed at the end, celebrates Ida being liberated from societal expectations.

The popular culture references were conscious and deliberate reminders of the modern retelling. Writers Lewis Eggeling and Salvador Kent seamlessly integrated them whilst maintaining aspects of the original plot. Nods at Ken from the Barbie movie's 'mojo dojo casa house' poked fun at toxic masculinity. References such as Ida's students being instructed to 'worship Taylor Swift' and Ida’s rebellion being a 'femininomenon’ celebrated female solidarity and girlhood.

Ved Sanyal's set design was simple but effective; the simply painted backdrops match the comedic tone. Few props such as the throne were used to the maximum. The story being narrated using a scroll incorporated elements of the medieval fairytale-like tone of the operetta, allowing the audience to keep track of the plot. The unexpected Chappell Roan easel in the classroom setting (which received many cheers) was a visual symbol of the production’s overall celebration of queer romance and female empowerment. Mabel Russell-Douglas' costumes blended the Medieval with the modern. The pastel pink school uniforms could have come straight out of Glinda Upland's wardrobe, which paired with rosy pink lighting highlighted themes of female unity.

All while not taking itself too seriously, the production was a powerful celebration of feminism and queer joy. EUSOG’s production leads by example in capturing the essence of Gilbert and Sullivan Savoy Operas, but ensuring they are no longer products of their time.