Interview: Meaghan Heath of IOLANTHE at Gilbert And Sullivan Society Of Houston

For Meaghan, stepping into the title role of Iolanthe with the Gilbert and Sullivan Society of Houston is more than just a chance to don wings and enchant an audience—it’s a full-circle moment years in the making. After a pandemic-canceled debut in the same role, this production offers both personal and artistic redemption. A mother of three and a self-described fairy tale fan, Meaghan brings heart, humor, and haunting honesty to a character who defies rules for love. In this interview, she shares her journey with Iolanthe, the joys and challenges of Gilbert & Sullivan, and how her own story shines through the fairy dust.

Let’s start with the magic: What drew you to the role of Iolanthe, and what was your reaction when you found out you’d be playing the title character?

I think what drew me to the role was that the character was a mother but looked young for her age...and as a mother of 3, who still gets carded, I could relate. Also, what girl doesn't want to play a fairy onstage? On a more personal note, years ago, right before the pandemic, I was actually cast as Iolanthe for Tacoma Opera, when my family was stationed in Washington. I had learned the role and had already done a bunch of promotional performances for the company, when the pandemic hit. Though initially delayed, the show was ultimately cancelled, and it absolutely broke my heart since it was the first opera I'd been cast in since I had had my first 2 children and I was dying to perform again. So, when I heard the G&S Society of Houston was having auditions for the show, I jumped at the chance for a redemption arc and luckily I booked it. Getting cast as Iolanthe has been a dream come true and definitely assuages a lot of that previous disappointment.

A fairy with a past: Iolanthe is such a unique character—a fairy who defies rules out of love. How do you approach balancing her ethereal nature with her very human emotions?

Well, I've always been a huge fan of fairy tales, and there are alot of similarities between her character and Andersen's Little Mermaid, since Iolanthe is a water fairy confined to a stream, and is expected to pay these heavy prices for loving a human, so that story is definitely an inspiration. As far as how I approach her...well, I'm a neurodiverse woman, and have always felt this pressure to conform to Society's version of normal throughout my life, to hide and mask who I am or how I feel, even though I process my emotions and thoughts very differently from those around me. So, I personally have always felt very alien, and no matter how hard I tried, I just couldn't follow the rules correctly or hide the strangeness well enough to not get in trouble or bullied. It didn't help that the only things I excelled in were music, writing, and art, so I brought attention on myself even when I didn't mean to. So, I guess I play her like I have to play myself in social situations, mask and play it safe around people who wouldn't accept me, and then let the real me shine through when I feel I'm in a safe space.

Gilbert & Sullivan's signature style: G&S operettas blend satire, wit, and lyricism. What are some of the challenges and joys of performing their music and text?

Well, G&S's claim to fame is of course the patter song...so being able to spit out text intelligibly, while also singing beautifully, accurately, and maintaining a British accent can be a challenge. Jokes can also be tricky since the vernacular from Britain during that time is quite different from our Modern speech. So, slowing things down and making sure you articulate and project to an almost ridiculous level helps. However, I think a lot of the jokes in Iolanthe are still very current...many at the expense of the wealthy and privileged class, as well as turning gender norms on their heads...so I think there is a lot that a modern audience can relate to.

Musical moments: Do you have a favorite aria, duet, or musical moment in the show? What makes it special for you?

For my character, it would have to be my aria and final scene with the Chancellor...it's just a genuinely poignant scene and it always moves me.

From rehearsal to stage: Can you tell us about your rehearsal process and how your understanding of Iolanthe has evolved throughout?

Well, it has been very intensive since we first started rehearsals...we of course start with the music since Gilbert and Sullivan can be challenging but always are being reminded of our pronunciation so that we maintain the proper British accent from the get go. Dialogue rehearsals also began near the very beginning to help with dialect and we also talked about the different characters personalities and back stories to make sure our ideas and the director's were in accord. My character happens to be one of the more serious ones, so I play her very earnestly and try to find moments of playfulness with the other characters even though most of her time on stage is fairly tragic. She's a single mother who adores her son and tries to be optimistic for his sake, but she's also a traumatized person who has been robbed of a life with her husband who she loved, so I think there's always a melancholy and yearning about her.

Ensemble magic: How has it been working with the cast and creative team of the Gilbert and Sullivan Society of Houston?

Well, I actually made my debut with the Society last year in Ruddigore, as Mad Margaret, which is such a fabulously unhinged role and maybe my favorite character I've played so far. My experience then was overwhelmingly positive - but it's honestly been even better this year, since there are several returning cast and crew from last year that I had already developed a great rapport with and now feel even closer to this year. I feel because of the familial nature of this particular show, it fosters a warmth and kindness in the entire cast and crew. Everyone just has great chemistry with each other and we really have had fun playing with these characters and teasing out the nuances of their relationships. We also have an wonderful director, Alyssa Weathersby, whose vision for the show is just delightful and whimsical, and she's staged some very fun choreography that really brings all the hilarity to life. And the music direction  from our conductor Keith Chambers and chorus master Joseph Rawley has been very firm but collaborative as far as tempo and interpretation of certain songs go, so we are all really blessed as far as having such a knowledgeable and respectful artistic team at the helm whose made us all feel very comfortable and safe throughout the process.

Timeless themes: Iolanthe touches on themes like love, justice, and authority. How do you see these themes resonating with modern audiences?

I think these themes are all timeless and an inherent part of the human condition. We all love, and have to live within the confines of Society's rules, which can often be arbitrary, cruel, or unfair depending on where you live or what your socio-economic status is...so that struggle to either buck up against the rules or maintain order will always be engaging and topical. And of course, forbidden love, which comes up quite a bit in this show, is always very in vogue since time immemorial. I think most people like a good love story, and this show has several romantic pairings, each one fraught with challenges that most could relate to.

Costume wings and all: Are there any fun stories or surprises that have come up during rehearsals or costume fittings?

I think one of the fun things is Alisa's idea to base each fairy on a different insect, so the wings, makeup and costumes have all been designed to reflect everyone's individual bug. Since Iolanthe lives at the bottom of a stream, her wings and colors are inspired by the dragonfly and I thought that was a really interesting touch. I also love the fairy wands which glow and twinkle and are just enchanting to watch on stage...I think people are really going to love it.

Though I don't have a funny story per se, one of my favorite on stage relationships, the one between Tolloler (Brian Yeakley) and Monterrarat (Scott Clark), always has everyone cracking up and trying not to break character, and it is definitely funny watching people try to maintain their composure during their interactions.

A new audience’s guide: For someone who has never seen Iolanthe or any Gilbert & Sullivan piece, what would you say to encourage them to attend?

Well, I'm a big fan of fairy tales and fantasy novels, and judging from how popular books like Harry Potter, The Chronicles of Narnia, and Lord of the Rings still are with most audiences, I would definitely sell the magical realism of the plot and how half the characters are fairies, as well as the comedy angle, since most of us could use a good laugh. Whenever I tell people about G&S in general, I'll usually show them clips from the Simpsons of Sideshow Bob and Bart singing excerpts from HMS Pinafore or finding a video from Pirates of Penzance of "I am the very Model of a Modern Major General" since that song is so iconic and has been parodied in media so much.
 

Looking ahead: What do you hope audiences take away from your performance, and what’s next for you after Iolanthe?

I hope as a whole it will make them laugh and fill them with a sense of wonder and delight...it's a fairy tale, so I hope it enchants and touches their hearts. And of course, if they have a good mother or mother figure in their lives, I hope it reminds them to call her up and tell her how much she means to them.

As for me, not sure what is on the horizon musically after my journey into fairyland, but I'm always on the hunt. Till then, probably spending some quality time with my 3 kids and husband after a rather grueling rehearsal process.