"Iolanthe" must rank high on any Savoyard's list of the Gilbert and Sullivan operettas. Packed with good tunes and breathtaking lyrics, it is also a social satire at times as bitter and biting as the early novels of Evelyn Waugh. In short, "Iolanthe" is as difficult to perform successfully as it is easy to make entertaining.

None of the companies that have toured this country in recent years has done a really satisfactory job on "Iolanthe." The D'Oyly Carte's, led by the ebullient George Baker as the Lord Chancellor, gave a rollicking performance of the work, but otherwise "Iolanthe" has been mangled by the amateur and quasi-professional repertory organizations that periodically give the show.

Thus the production which Hibbard G. James and G. Wallace Woodworth have staged with the Harvard Glee Club and Radcliffe Choral Society must be judged by comparative rather than absolute standards. The performance reviewed was the final dress rehearsal.

The character of the Lord Chancellor overshadows all of "Iolanthe," and Henry Breul carries off the part as well as could be expected. For years the Lord Chancellor has been played by energetic little old men who danced hilariously, acted well, and could not sing. The Lord Chancellor is essentially a rather ridiculous individual, and it is difficult for a person of Henry Breul's stature and voice to be ridiculous without appearing just silly.

Breul, however, has stage presence and personality, and the show never drags when he in on stage. The same unfortunately, cannot be said for Helena Fenn, who takes the important role of Phyllis. Hampered by a weak voice and only minor acting ability, she adds to her difficulties by an unprofessional reticence in the amorous scenes and duets which have a major place in "Iolanthe."

Strephon, played by Jay Hughes, forms the better half of the romantic pair, handling his unsteady voice with artistry and achieving the greatest possible effect.

The outstanding feminine performance is given by Margaret Dewey as the Fairy Queen. Her fine voice and real acting talent successfully carry an unsteady (and most un-dainty) chorus of fairies through some difficult crises.

Richard Gill as the Earl of Mountararat does a fine job, singing intelligently and acting well. Fred Pratt is adequate as Earl Tolloler, and Norman Cazden is also satisfactory, though he will have to learn to stand still and not force his voice if he is to be a really comic Private Willis. The male chorus sings powerfully and with gusto, and looks quite as stupid as the Peers are supposed to be (although they could hold their ceremonial robes a bit less like Indian blankets).

Martha Hopkins, in the title role, is an extraordinarily beautiful girl, and one could forgive her anything. One has to forgive some wooden acting, too, before she gets down to work in the finale and does some excellent singing. Betty Prescott as Celia, Margaret Spalding as Leila, and Nancy Hill as Fleta are reasonable.

Hibbard James, who would have delighted Gilbert's old heart, replaces Breul in the Saturday matinee performance, while Elizabeth Weichel acts pertly in the role of Phyllis. Wilfred Pickles adds his magnificent Irish tenor and completely unemotional countenance to the role of Strephon while Frances Shaffer is an imposing, though voiceless, Queen of the Fairies. Augusta Gifford takes over the role of Iolanthe, while Margaret Williams and Eleanor Finkelstein take the roles of Celia and Leila. As Private Willis, E. Barr Peterson gave the best individual performance of either cast. pro