The Mikado presented by Utopia Opera and Forbear! Theatre
What a gloriously entertaining evening! Regular readers will recall the distaste we have for ill advised transpositions of the classics of the operatic canon. Fortunately we have no such reservations about more lighthearted and comedic works. We don't mean to imply that Gilbert and Sullivan's works are trivial. As a matter of fact, W.S. Gilbert tackled important topics such as Great Britain's complicated legal system, peculiar politics, class structure, and artistic pretensions; and he did so with the cleverest of lyrics. So the transposition of The Mikado from Japan to Middle Earth did not trouble us, although the names of the characters only hinted at the original designation.
In Forbear! Theatre's founder and artistic director Rachel Gianesse Middle, William Remmers, founder and artistic director of Utopia Opera, has met his match. Each is prodigiously gifted and successful at bringing beloved works to the public in unique and original ways. For example, Remmers, with his rubbery long limbs and mobile face, brought new elements to the role of Klok-Cow, the lowly tailor promoted to Lord High Executioner. Middle brought a bright soprano and a winsome attitude to the role of Mna-y'um. Middle also directed the drama whilst Remmers directed the music.
And what great music it was with the winds taking a strong position, giving all 24 (!) of Sullivan's gloriously tuneful musical numbers their due. Also impressing us was Dan Cavendish as the Mikado of Pa'gaen who delighted the audience with his list of miscreants and the corresponding appropriate punishments. John Faal ably handled the role of the hapless wandering minstrel AEthel-Run.
Although much of the cast was British and unknown to us, we were happy to see the familiar face and hear the familiar voice of the enormously funny Matthew Wages in the key role of P'fugal Fa, the possessor of infinite titles, each with its own responsibilities and privileges. Kathleen Brenner did a fine job as the shrewish Kottilska, although far younger and more attractive that the usual Katisha.
All of the smaller roles were similarly well handled, and the costumes were colorful and inventive, especially those for the chorus. The staging worked well, especially in view of the limited playing area. Much of the excellent 24-piece orchestra occupied stage left. With such compelling musical and dramatic aspects, we can have no greater wish than that each and every one of our readers could score tickets to the remaining performances Saturday and Sunday.
Lingering in our memory, from among all 24 delightful numbers is "Three Little Maids from School", The Mikado's "I've Got a Little List", Remmers' courtship of Kattilska in "Tit Willow", and Middle's solo "The sun whose rays". There was also a brilliantly composed sextet in Act II that was given a fine performance.
To close we would like to mention that no people of the Japanese nationality were degraded or insulted. 😂 Furthermore, we received no writing help from AI. We own everything we spelled wrong or misidentified. Never mind. Go see it!!!!!
© meche kroop
