New York Gilbert & Sullivan Players' production of Utopia, Limited
We had high expectations of last night's performance of New York Gilbert & Sullivan Players' production of Utopia, Limited and these expectations were actually exceeded. Utopia, Limited was the penultimate creation of that brilliant writing team and has been given a lavish production with some truly splendid performances. One wonders why it is so rarely performed.
The themes are familiar. Gilbert loved to skewer the British government and, although their institutions are not the same as ours, loopholes and corruption abound everywhere and are always ripe for mocking. In this work, colonialism also gets a good kick in the pants since The Flowers of Progress (the alternate title of the work) have been brought back to this island nation of Utopia by The Princess Zara (played by the sweet-voiced soprano Sophie Thompson) who just returned from being educated in England. The work would seem to have been inspired by a contemporaneous event; Hawaiian Princess Kaiulani had been educated in England and there was much speculation as to how her contact with English "civilization" would affect her homeland.
There were other topical references the contemporary viewer may not be aware of. A woman named Anna Leonowens had written a book about her six year employment as governess to the children of the King of Siam. (No doubt you have heard of a Broadway show entitled The King and I, which was developed from her book.) In Utopia, Limited there is a governess named Lady Sophy (played by the marvelous contralto Hannah Holmes) who had been hired by King Paramount (the very funny Matthew Wages) to instruct his two younger daughters (Laura Sudduth and Alexandra Imbrosci-Viera--both adorable). The British audience of the 1890's would have caught the reference
The "flowers of progress" comprised six English gentlemen of the military and government, including Princess Zara's love interest Captain Fitzbattleaxe (!) performed by tenor Cameron Smith who had the funniest song in the show. He opened Act II with "Oh, Zara, my beloved one, bear with me!" including some very funny lyrics about tenors having vocal difficulties when in love; this was illustrated vocally, a moment we truly loved.
Much of the King's interaction took place with his two Supreme Court judges (Vince Gover and Lance Olds) who added a great deal to the humor, as did Sam Balzac who portrayed the Chief Exploder--a role for which we have many mental pictures but for which we cannot find words--and we are rarely at a loss for words.
Not only are British political institutions mocked but also courtship rituals when two of the visiting "flowers of progress" proceed to instruct the two younger sisters in the behavior of English girls in "Then I may sing and play?"
As far as the visiting English "flowers of progress" we were particularly delighted by David Auxier as Captain Sir Edward Corcoran who seemed to be visiting from H.M.S. Pinafore, complete with his "Never! Well, hardly ever". There is great satisfaction in getting an inside joke! Notably, Mr. Auxier was also responsible for the excellent choreography which added a great deal to the performance.
The visiting "flowers of progress" bring English institutions to the supposedly benighted Utopians, including the concept of a "limited company" which I guess we Yankees would call "incorporation", thereby solving a multitude of problems and much irony as other problems are created. Ultimately those very problems are solved by the institution of a two-party system. Lest we laugh too heartily at the British let us remember what happens to the pot that calls the kettle black.
Let us give due credit to the remaining "flowers of progress"--Jack F. Murphy portrayed Lord Chamberlain Dramaleigh; Logan Pitts took the role of Mr. Goldbury, Company Promoter; James LaRosa performed Sir Bailey Barre; Pru Lord Remmert enacted Mr. Blushington.
Although political satire is the major focus, the work includes, of course, two romances--one obvious and one a surprise revelation. Guess which!
Under the baton of Maestro Joseph Rubin, Sullivan's music sounded absolutely delightful with sparkling melodies and toe-tapping rhythms.
Although the set design by Joshua Warner was minimalistic, the colorful costume design by Quinto Ott delighted the eye. We wondered why the chorus of local island women were dressed in high British fashion of the period and then we surmised that it was done that way in Savoy Theater time. When the island women became "anglicized", the lines of the dresses remained the same but the colors were subdued. At the outset, the colors were bright and varied.
The direction by James Mills was above and beyond. There was plenty of physical comedy to delight the eye when the ear might have missed some of Gilbert's witty rhymes. And that brings us to our one complaint. The voices are excellent and the Kaye Playhouse is of modest size. We object to amplification as we usually do. These works were presented in the 1890's without amplification. Does anyone think that microphones add to the experience?
What would add to the experience would be projected titles. The dialogue is so witty and the rhymes so pungent that it is a pity to miss them.
Dear Reader, you may have to wait at least two years for an opportunity to enjoy this gem. The 2026-2027 season has already been announced with the popular The Mikado and The Pirates of Penzance being joined by The Gondoliers which we have never seen but are very much looking forward to.
© Meche Kroop
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