Previous Productions - Hot Mikado

When the copyright, help by Bridget D'Oyly Carte, whose Grandfather Richard had first produced Gilbert and Sullivan's operas, lapsed in 1961 there was a rush to present the opera's free as the new producers felt from the stifling restrictions imposed by Miss D'Oyly Carte.

They were, in some ways, right to have such feelings in the Miss D'Oyly Carte was indeed very strict in the latitude she would allow from the traditional interpretations that her own company presented. Musical arrangements and the original had to be adhered to the note and letter, leaving producers and players no opportunity to bring their own interpretations to the fore.

The outburst of productions that came after the copyright expired contained some inspired pieces of theatre, and some appalling shows of self-indulgence. In some of the later productions musical arrangements were changed to such an extent that it became almost impossible to recognise the music as being the work of Sir Arthur Sullivan. Sir William Schwenck Gilbert's wonderfully satirical scripts suffered even more, in the rush to impose 'modern' satire on the lyrics a great deal of dreadful trivia was written by people who had little or no idea about how inventive and often politically penetrating Gilbert's lyrics, and script's were.

The public, soon sorted the 'sheep from the goats', and very few of those immediate post 1961 presentation are remembered, let alone produced nowadays. Others like the Broadway, and Australian versions of 'Pirates of Penzance' have proved their quality over and over again, and rightfully have become staple G and S diets.

If the more outrageous adaptations, which include a versions of 'The Gondoliers' as a Mafia based story, and 'The Ratepayers lolanthe', the Mikado is the work which has attracted most attention. Their titles include 'The Swing, Jazz, Cool, Black', and of course your choice, and by far the best adapted version of 'The Mikado', 'The Hot Mikado'.

The principle reason that this version is so good compared to many of its rival's is because it always pays due respect to the original work. Just as some orchestrators have made fine use of music composed by The Beatles so that they fit into a programme played by a full Symphony Orchestra, so Rob Bowman has, using a mixture of 1940's harmonies, Jazz, Hot Gospel, Cab Callaway Swing, Torch and Rock given lyricist David H Bell an excellent platform to take Gilbert's satire into a different era without losing any of its impact.

Between them they have created a show which gives a musical company a wide ranging musical and dramatic base, by making use of the talents of two masters of the light opera genre, Sir Arthur Sullivan and W.S.Gilbert.

The musical part of this production was in safe hands from the word go with the skillfully led six strong Orchestra always completely comfortable with the ever changing pattern of the score. Love songs 'Jive', comedy numbers 'Torch Song', and even a dash of South American Rhythms were all presented with great surety.

In an era where all the principal singers have personal 'mics', and in a theatre which was not designed to take an Orchestra's input balance between vocalists and musicians can, and often does, go array. A combination of careful control by the MD and good work by the Sound Designer ensured that the balance in this production was always acceptable. Only once during the Mikado's song did we hear the dreaded 'howl round'.

Time after time I find in my notes the phrase 'lovely accompaniment', these may get a further mention when individual performances are discussed.

With this quality of backing neither the soloists nor chorus could have any excuses for failing to make the most of the opportunities offered to them. The soloist could however level an occasional criticism of the places they were allocated by the Director, and/or the Choreographer which left them in a week position when they should have been much more in the focal part of the scene. Some of these criticisms may arise again during the discussion of individual performances. Before proceeding let me say at once that any criticism of the work of the Director and, or the Choreographer in the positioning of soloists during a company number are of a mina nature and should not be taken as a major attack on their work in these numbers which taken overall was extremely good.

The Director was always conscious of the need to keep the action flowing freely, and on this open plan set for a seamless shift from one scene to another. He also encouraged his cast to play with a light, but not too farcical, touch. As a result characters were created that were broad enough to chase the comedy available without drifting into the realm of silly over the top cardboard cut-outs.

To create choreography that encapsulates such a wide variety of styles as his score offered without fussing the main body of the chorus is a considerable challenge to any choreographer. From the nicely stages 'Gentlemen of Japan' through 'For He's Going to Marry Yum-Yum' the big ending to Act 1, the cleverly staged 'Here's a Howdy-Do', and onto the 'Mikado's Song' both individuals and full chorus were intelligently used creating a series of pictures that fitted extremely well into the music, and lyrics of the numbers being performed.

It was nice to see 'Tap' introduced sparingly at the right moment and all the more effective for that.

In principal visually the action was set in the 1940's, rolled hair styles, short flared skirts intermingled with 'Hot Pants' I know they belong to the swinging sixties, but they blended very well with the overall picture created by the ladies of the chorus, and those 'Gentlemen of Japan' with their 'Guys and Dolls' trilby's and colorful waistcoats.

Individual costumes were in the main tailored to fit into the character being presented. There was a delightfully slight touch of 'Liberace' in Pooh Bah's outfit, nice as it was Ko-Ko's red blazer with its leopard skin lapels, and well used trilby was not quite as striking as those worn by the 'Lord High Everything Else'. Nevertheless it was a distinct costume which immediately throughout the show identified Ko-Ko and no one else. Katisha, whose second dress was the more impressive of her costumes, was another that found her cause aided by the Wardrobe team.

All these, and the costumes worn by the other principals had that post 1939/45 War period about them, which begs the question why was the Mikado sent out wearing a very smart traditional robe?

With a wide open set devoid of any dressing the stage crew had, once the stage was ready for the opening a peaceful night before them. In contrast the lighting plot marrying it to the changes of images and music developing within a scene. With no particular dramatic events to highlight it was more a question of supplementing the changes of mood, and this the expertly delivered lighting plot invariably did. Just occasionally there was the feeling that there had been on lighting change too many in a scene, the designed having become a little self indulgent, but in all fairness that remark borders on nit picking when you take into consideration the way in which the lighting plot as a whole aided the pictorial presentation of the show.

From the outset this production exuded a brightness and enthusiasm which readily communicated itself to the audience. They in turn responded equally readily to the company's efforts, but oh how I wish they would not indulge in the present day fashion of applauding the bows in unison. It did not matter how good, bad, or fair each performers efforts were they all received the same response from the audience clapping in rhythm with the music being played for the bows. That wonderful feeling that a performer has when they receive a round of applause for their efforts, even when at times it is only a modes response, is a very personal thing to be cherished, and far better than anonymous rhythmic clapping which does not vary from those who have just had 'A spit and a shout' to those who have worked hard all evening appearing in almost every scene.

My thanks and congratulations therefore to the company for all their hard work and the talent they displayed, and a thumbs down to the response they were afforded by the audience.

Individual performances

Nanki-Poo
My first view of a Nanki-Poo in a D'Olyl Carter production of 'The Mikado' left me with the impression that the man was a real wimp in every way. I could not for the life of me understand how such a lovely girl as Yum-Yum could fall for him. As the years went by I began to realise that I had been confusing the character with the rather strangulated tenor who I first saw play the role.

Your interpretation I am glad to say was a long way from that hapless performer presenting me with a young man who was 'love sick' not week willed. Far from thinking that Yum-Yum was light in the head for being attracted to you I became a little indignant on your behalf when your unflinching affection was rewarded by a definite refusal to end her life with you after a month of marriage.

Your first entrance introduced us to an amiable young man head over heels in love who had no difficulty in successfully leading the 'Gentlemen' through the 'Wand'ring Minstrel' song. The relationship with Yum-Yum was cemented nicely in the well set 'This is What I'll Never Do' number.

The byplay with Ko-Ko about your decision to commit suicide had the right light weight feel about it. During the 'Let the Throng Our Joy Advance' routine was the first place I lost principal characters in a producer number, you and Yum-Yum at times disappearing amongst the merry throng. There were times when you two were not the focal point of the routine, but as the two most important characters on stage at that moment we should not have ever, as we were, been reduced to searching for your whereabouts.

Vocally the back to back numbers 'Swing a Merry Madrigal' and 'Here's a Howdy-Do' which offered you differing musical challenges found you in top form. Add to that some nice use of the dialogue in the middle of Act 2 and you have a very pleasant portrayal of a most worthy suitor for Yum-Yum.

Ko-Ko
A peach of a part with some of the shows best dialogue and at least two of the best numbers in the score, and you must have been the envy of all the other would be Ko-Ko's in the company. The problem with such a much sort after role is that all through rehearsals you know there is at least one player watching, listening and thinking I could do that better than he does. Well I do not have any idea about how well you gradually created the character in rehearsal, but I can vouch for the quality of the finished article.

It is one thing to be presented with a bag of goodies it is another to take such good advantage of these opportunities. I say that after not being particularly impressed by the first 'goodie' 'I've Got a Little List', which rather hiccuped its way along. This false dawn was quickly in the rear as your dealings with Nanki-Poo and Pooh-Bah emerged into the light.

By the time you reached the courting sequence with Katisha you were in full flight showing that most essential of all comedy playing excellent timing. It takes not only talent, but courage to hold a look, or delay an action or line for just the right amount of time for it to have maximum effect when it is finally delivered. In 'Tit Willow' and the dialogue which surrounded it you displayed this great attribute over and over again, and just as importantly like a man walking a straight line to prove he is not drunk went right to the edge of over playing without once losing your balance stumbling onto the wrong side of the comedy line. You looked as if you were enjoying every minute of playing this role as I can assure you we in the audience enjoyed watching you perform.

Pooh-Bah
Compared to the character as usually depicted in 'The Mikado' your Pooh-Bah was short on imperious haughtiness and long on the sort of 'eye for the main chance'. He was the sort of man associated with War time 'Spivs'. For those of you too young to remember the meaning of the word 'Spiv', which incidentally is very important person spelt backwards, he is 'A slick operator who makes a living more from speculation or profiteering than actual work'. A 'Spiv' was also usually associated with a rather flashy way of dressing, with that red and gold top coat, and the ease with which you picked up on any opportunity to turn a situation to your advantage your very well created Pooh-Bar was indeed a 'Spiv' of the first order. In this version of the story apart from those two chances in Act 1 'And the Drums Will Crash' and 'I am So Proud' you have little chance to display the full range of your vocal skills. These you took in fine style, and could be seen throughout the rest of the show adding strength and enthusiasm to the production numbers in which you were involved. You also made telling use of the scraps of dialogue that came your way, like the sniveling coward when pleading for mercy from the all powerful Mikado. Your combined vocal and dramatic input made this a noteworthy contribution to the production.

Pish-Tush
Wearing those large glasses, diamond patterned sleeveless sweater, with usually a vacuous look on your face your Pish-Tush fitted into the storyline in a very distinctive manner. It mattered not if you had dialogue, or a vocal line to present we never lost sight of you within a scene. By that I am not implying that you were 'mugging' or in any way trying to draw attention away from the focal point of a scene. You were always a distinct character, but never an intrusive one.

When given just a little chance to show us your vocal talent in 'Swing a Merry Madrigal' you took it readily leaving the feeling that given more opportunities you would have created as strong an impression vocally as you had dramatically.

An invaluable member of the ensemble this was a performer I should have enjoyed seeing more of.

The Mikado
I have already had my say about your costume, which incidentally you wore in a style which would have put those actors who look completely out of place when wearing anything that goes passed their knees to absolute shame. In keeping with the appearance of the other characters on stage a Cab Callowystyle 'Zoot Suit' would I feel have been a more appropriate image for you to adopt.

You obviously enjoyed the prospect of the torture and execution that awaited Ko-Ko, Pooh-Bah and Pitti-Sing for causing the death of the heir to the throne of Japan. That being said there was room for little more of a show of mouth watering relish of these events to come.

There were times when I think you could have been more advantageously placed during the 'Mikado' number, but that in no way diminished the authoritative manner in which you handled proceedings, or led the 'troops' in the number. There was indeed a nice easy going style about the way in which you played this character giving the impression that he was a man so used to authority that there was no need for him to emphasis the fact.

Add to that a vocal style, and manner of verbal delivery that fitted the portrait ideally, plus the ability to blend seamlessly into a production number and you have a definite plus to proceedings.

Peep-Bo
Late in the proceedings you threw away a line as you exited with such perfect timing that it made me tremendously sorry that so few opportunities had been given you to present a laugh line. Earlier you had displayed the same sort of ability as a vocalist in 'Three Little Maids'.

This portrayal reminded me of the small supporting role of the cheeky chorus girl 'Anytime Annie' played by the then little known Ginger Rogers in the classic 1933 musical film '42nd Street'.

Bearing in mind what happened to her a year or so later I suggest future BAOS casting directors keep a close eye on your progress.

Katisha
Defiantly a no holds barred role this lady has a big personality and on at least two occasion's vocals that require a big forceful sound if they are to succeed. When she appears she dominates the stage a fact that sets up the battle at the end of Act one ideally. If on that first entrance you do not establish Katisha as that sort of person that big Act 1 ending just does not come alive.

That responsibility did not appear to weigh too heavily on your shoulders and therefore it was no surprise when the whole company froze as you vocally took over the scene. With that in mind I think it would have been prudent to have given you fewer moves during the period of the freeze. By continually shifting your base the strength within the character was slightly dissipated. The blame for this must fall on whoever made the decision to bring these moves into the scene, Director/Choreographer, and or you?

Having shown that you could beat out a song or sing a romantic melody with equal effect you then proved to be a dab hand at gentle comedy as you warmed to Ko-Ko's amorous advances.

All through the performance you had to battle with a mistake by the make up team. Those marks on your forehead were I presume meant to add age to the picture, they only added what appeared to be a couple of dirty marks which you had forgot to wash off. It says much for the strength of the character that you had produced that by the time you were reacting to Ko-Ko's advances the smudge on your forehead had been forgotten.

This was a bravura performance that well painted the formidable picture required of this lady.

Yum-Yum
You did not quite make me believe that you were as innocent as the dialogue indicated when you state in 'your artless Japanese manner' that you really are beautiful. This Yum-Yum never convinced me she was that naive, and so unworldly.

That being said this was a more than just acceptable portrait from a lady who took her character beautifully into her vocals. That may seem an obvious thing to say, but on many occasions a player leaves the dramatis character behind, and in some cases the accent that goes with it, when they begin a vocal. No such accusation could be levelled at this nicely drawn portrayal.

You introduced yourself in that well presented 'Three Little Maids' number, continued with some gentle vocal comedy in 'This is What I'll Never Do', and then having sown your ability to work with the ensemble in 'Let the Throng Our Joy Advance' gave us a lovely example of how to sing a romantic number with 'Sun and I'.

The 'Swing a Merry Madrigal' number must have been more challenging in that it moved from a traditional rendition to the more modern swinging arrangement. In both sections you were well in command of the vocal, as you were whilst performing those intricate movements the choreographer had inserted into 'Here's a Howdy-Do'.

All the way through this same fundamentally nice happy girl was clearly on view, a young lady who could, did readily, and deserved to capture the heart of our hero, Nanki-Poo.

Pitti-Sing
Pitti-Sing is far more knowing than her presumably older sister Yum-Yum, she is one of those ladies who sums up a situation in a trice and usually can manoeuvre it to her advantage. When it was required that a prisoner should be executed she jumps on the band wagon with great alacrity to convince the Mikado that such an act has been done. Making good use of facial expressions you also tried harder than even Ko-Ko, and Pooh-Bah to find a way out of your dilemma.

This was a sure footed performance throughout, the lady of some strength shown during the singing of 'Three Little Maids', who later made a full contribution to 'Swing the Madrigal' was another who without trying to hog the limelight could easily be seen amongst the ensemble. There was strength in the vocal contributions, and a distinct character emerged to deliver the dialogue when required.

As with her younger sister Peep-Bo this was a player I would have enjoyed seeing more of in this production.

Gentlemen of Japan, and Ladies of the Chorus
Painting one good picture after another whilst going through a series of some times intricate movement and vocal changes this group were a definite asset to the production. With the odd piece of gymnastics thrown in for good measure, and some nice flashes of 'Tap' dancing there was always something of visual interest to take the eye of the audience.

Vocally your work was also sound, and to achieve that standard I suspect required the same sort of rehearsal time that had to be given over to the movement on display. In this production we are probable talking about the chorus putting in at least a similar rehearsal time as most of the principals.

It was good to see these principals often working as hard in the production numbers as the ensemble. These combined efforts ensured that the ensemble numbers provided some of the most successful moments in the production.

Thank you for the generous reception, an ideal seat from which I could scribble constantly without disturbing the neighbours and the very much appreciated interval cup of coffee.

Gerry Parker