Utopia Limited
Arthur Sullivan & W. S. Gilbert
Choreographer · Performer
Overview
Utopia, Limited; or, The Flowers of Progress is one of Gilbert & Sullivan’s final Savoy operas and among the rarest works in their repertoire. Premiered in Argentina by Lírica Lado B in 2012, the production introduced local audiences to a work that playfully blurs the boundaries between opera, operetta and musical theatre.
Through the fictional island of Utopia, Gilbert & Sullivan construct a satirical reflection on Victorian capitalism, colonialism and political institutions. The work unfolds through a continuous succession of ensembles, choruses and theatrical scenes, privileging collective storytelling, musical wit and entertainment over individual virtuosity.
Argentine Premiere
Lírica Lado B
Manzana de las Luces · Buenos Aires · 2012
Documentation
Context and Artistic Process
The production departed from the traditional Victorian imagery usually associated with Gilbert & Sullivan by imagining Utopia as the ruins of a contemporary civilization. Inspired by Ancient Greece—the symbolic birthplace of Western culture—the stage world was constructed entirely from recycled technological waste, household textiles and discarded everyday objects, contrasting the idealized island with the arrival of industrial England.
This visual concept transformed Gilbert & Sullivan’s nineteenth-century satire into a contemporary reflection on consumer culture, globalization and the material remnants of modern society. Distinctive make-up palettes replaced naturalistic skin tones, creating two recognizable yet unfamiliar civilizations whose identities were defined through colour rather than ethnicity.
As Choreographer, the movement was conceived as an extension of the musical structure, supporting the rapid succession of duets, trios, choruses and large ensemble scenes that characterize Gilbert & Sullivan’s writing.
Simultaneously performing within the production, I worked closely with the stage direction to integrate movement into the overall theatrical rhythm. Spatial composition, collective dynamics and physical transitions became essential tools for sustaining the satirical energy of the piece and reinforcing its playful dialogue between music, theatre and movement.
As a member of Lírica Lado B‘s permanent artistic collective, I contributed not only in my credited artistic role on this production, but also to the company’s collaborative practice through production planning, organizational coordination and artistic development.
Press
“A very interesting proposal, presenting a work that is rarely performed, even in England.”
Critics welcomed the Argentine premiere as the rediscovery of one of Gilbert & Sullivan’s least-known works and praised Lírica Lado B for expanding the local operatic repertoire.
Reviews particularly highlighted:
- the originality of presenting Utopia, Limited in Argentina;
- the inventive contemporary staging built from recycled technological materials;
- Diego Rodríguez’s dynamic use of the performance space beyond the stage;
- the youthful energy and commitment of the ensemble;
- the production’s sustained theatrical rhythm and playful visual imagination.
The production was described as “a true celebration” of Gilbert & Sullivan’s music and Victorian satire, successfully translating the operetta’s humour into a contemporary theatrical language.
Tribuna Musical
Asociación de Críticos Musicales de Argentina
Credits
Utopia, Limited; or, The Flowers of Progress
Operetta by Arthur Sullivan and W. S. Gilbert
Musical Direction: Camilo Santostefano
Stage Direction: Diego Rodríguez
Choreography: German Ivancic
Production: Lírica Lado B
Cast
Narrator
Camila Dougall
Principal Cast
Alejandro Spies — King Paramount
Lelia Couselo — Zara
Tamara Odón — Lady Sophy
Nicolás Ignacio Sánchez — Captain Fitzbattleaxe
Gabriel Carasso — Mr. Goldbury
Pablo Urban — Scaphio
Juan Manuel Vizán — Phantis
Patricio Remotti — Lord Dramaleigh
María Carranza — Nekaya
Lucía Alonso — Kalyba
Maia Wierzbinski — Phylla
Manolo Hurtado — Sir Bailey Barre / Tarara
Juan Pablo Paccazochi — Blushington
Ignacio Agudo — Corcoran
Performer
German Ivancic
Chorus
Agostina Baez, Andrea Burla, Claudia Markert, Gabriela Morales, Gladys Recchia, Julia Frosi, Laura Ferrarini, Laura Lanosa, Mariana Rocío García, Marianella Tucci
Lírica Lado B Orchestra
Alexey Musatov: Violín | Cecilia del Carmen Cabriza: Flauta | César Oscar Castro: Clarinete | Constanza Dougall: Corno | Francisco Quesada: Violín | Gonzalo Braz: Clarinete Bajo | Gustavo Giménez: Flauta | Julián Arellano: Violoncello | Mailen Ubiedo Myskow: Violín | Mariana Álvarez Clemente: Violín | Mariana Ferrer: Violoncello | Maritza Pacheco Blanco: Violín (concertino) | Martín Sotelo: Viola | Milagro Valdecantos: Violín | Nevy Felipe Mendoza Rivera: Trompeta | Pablo Alvarez: Clarinete | Pablo De Nucci: Violoncello | Pedro Salerno: Contrabajo | Susana Martínez: Viola | Valeria Bosio: Flauta | Vera Willemyns: Viola
Production Credits
Alan Puyol: Pianista acompañante
Andrea Bouhier: Producción / prensa
Andrea Burla: Producción/ Registro audiovisual
Angeles Miranda: Escenografía / Tramoyas / Ilustraciones
Ayelen Hachur: Pianista acompañante
Camila Dougall: Asistente de dirección
Camilo Santostefano: Director musical
Cecilia Magno: Vestuario
Cristel Magneto: Escenografía / Tramoyas
Diego E. Rodríguez : Director de escena
Germán Ivancic : Director coreográfico de escena
Julia Frosi : Tocados
Kevin Ochi: Colaborador
Laura Bronzini: Maquillaje
Lorena Bufidis: Vestuario
Lourdes Achával: Caracterización / Maquillaje
Mariana Ferrer: Asistente de dirección musical
Mariano Ivancic: Diseño gráfico
Marita Machetta: Fotografía
Martín Sotelo: Mtro. Preparador /Asist. musical
Silvana Castro: Vestuario
Virginia de los Santos: Diseño y realización de vestuario