Opera Review
Ibsen Sta THE MIKADO
Richard Angas - the Mikado of Japan Photo copyright Alistair Muir and ENO
Operetta by Gilbert and Sullivan
Conductors: Wyn Davies and Martin Fitzpatrick Original Director: Jonathan Miller. Revival: David Ritch Original Choreographer: Anthony Van Laast. Revival Stephen Speed Designer: Stefanos Lazaridis. Costumes: Sue Blane
London Coliseum 2 February – 4 March, 2008 ge Co
A review by Barry Grantham for EXTRA! EXTRA!
Somehow, I had managed to miss every one of the revivals (twelve, so I hear) of Jonathan Miller’s production of The Mikado; but I am very glad to catch up with it at last. Nowadays, there is less justification in transferring both the time (1880’s to 1930’s) and the place (Imperial Japan to a grand occidental hotel) than there was on its first night in 1986. Back then, there was reason enough, the G&S operettas had not long before been freed from copyright and the D’Oyly Carte Opera had at last relinquished its stranglehold. At that time it was, almost certainly, the most popular work essayed by the less adventurous amateur operatic societies and the public, satiated with Yum-Yums and Nanki-Poos, couldn’t face another Kimono, associating them with all that was passé, and cobweb covered. So, to give it a new setting, was a clever and timely decision and even now, after one has got over a number of illogicalities, - and who needs logicalities in Gilbert’s Topsy-Turvy world? - There is plenty to compensate.
Sarah Tynan as Yum-Yum Photo copyright Alistair Muir and ENO
The curtain rises on a superb set; a glistening world of 1930’s luxury - a symphony of every shade of white recalling the glories of a film set from the ‘Fred and Ginger’ era. Ranged before us are ‘The Gentlemen of Japan’ in every variant of formal black; looking splendid. Soon to be enlivened by the delicious chambermaids – short black dresses, with white aprons, and white caps (afternoon wear, remember?) reviving a long vanished erotica - or the dashing pageboys, if that is more in your line. Both girls and boys (note: always segregated; as is only proper) dance splendidly, and the choreography of Anthony Van Laast is exemplary. And I give that in its exact meaning. It is an example to any budding choreographer into just how such a production should be done. Mr Van Laast is well versed in the choreography of the period - I recognise a Ruby Keeler step from the film 42nd Street - with the correct arm movements! Now those eager to read about other aspects of the show must bear with me, while I sound off about a particular bête noire of mine.
Photo copyright Alistair Muir and ENO
Note to artists and choreographers: Please do not think that the 1920’s & 1930’s were periods of unbridled brashness – wait till the end of 1950’s for that. After two or more millennia of hiding their legs from view, when they at last took to short skirts, women were not confident of flinging their limbs about in all directions. So, as a general rule, knees are kept held tightly together, and the overriding mood should be one of cuteness and coyness. Mr Van Laast knows this well - the pretty little back kicks (knees together) are almost a motive. There, I’ve got that off my chest.
Robert Murrray- Nanki-Poo (centre) Photo copyright Alistair Muir and ENO
I must admit that it did take me most of the first act to warm to the production. After the overture, I did wonder if Arthur Sullivan really was a composer to fill the Coliseum and some of the early gems like ‘A Wandering Minstrel, I’ and ‘Three Little Maids’, failed with me to achieve their expected impact. In fact, I had to wait till the entrance of Miss Frances McCafferty in the role of Katisha, the Mikado’s daughter-in-law-elect; great of girth, powerful of presence, and vast enough of voice to raise the Coliseum roof before I became totally engaged.
Sarah Tynan as Yum-Yum & Robert Murray Nanki-Poo
After 20 minutes of interval and a tub of lemon sorbet, I was ready and willing for Act II and by the end I was cheering with the rest, There had been a delightful ‘Moon and I’ from Sarah Tynan, as the heroine Yum-yum. Excellent character work and, of course, vocals from Graeme Danby as Poo-bar, (Who said opera singers can’t act?) and a comic masterpiece of a performance from Mr Richard Suart as the Lord High executioner Ko-Ko. And larger than life, (even in these days of overeating) the Mikado of Richard Angas.
l-r Graeme Danby- Pooh-Bah, Richard Stuart- Ko-Ko & Richard Burkhard- Pish-Tush Photo copyright Alistair Muir and ENO
But let me end with a few superlatives: Choreography; outstanding. (good restaging by Stephen Speed. Dancers; a joy. The set; clever and wonderful on the eye. Costumes; perfect. The direction; originally, by Jonathan Miller, but well restaged by David Ritch, is an endless stream of comic invention. And after a hilarious song and dance from Miss Frances McCafferty and Mr Richard Suart, one of the best comic finales I have seen on any stage. Bravo!
Listings informatiom Dates: February 2, 9, (plus matinee at 2.30pm), 15, 21, 23. (plus matinee at 2.30pm) 27.and March 2 (Matinee only 3.00pm) and 4 at 7.30pm Venue: The London Coliseum, St Martin’s Lane, WC2N 4ES Box Office: 0871 145 0200 www.info@eno.org
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