Word: gilberts
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...this hardly matters. The reason for The Mikado's enduring popularity is not the complexity of its plot; it's the play's fast-paced, brilliant comedic development, endearingly ridiculous characters, unremittingly sparkling dialogue and clever patter songs, which include some of the best-known ditties in the Gilbert and Sullivan repertoire...
...around the edges. Fortunately, that isn't an issue here; each of the central players demonstrate a startlingly high level of energy. As the young romantic protagonists Yum-Yum and Nanki-Poo, Yamakawa and Shuman are thoroughly engaging, projecting the strange blend of world-wisdom and innocence that make Gilbert and Sullivan's heroes so appealing--by the time he's finished his introductory song, "A Wandering Minstrel I," Shuman has won us over. Siemens's Ko-Ko is thoroughly annoying and amusing; more effective as a comedian than a singer. He's at his best when he seems...
What's more, in this opera all the players can actually sing. The majority of the cast deliver their "patter songs"--the quick-paced, witty recitatives that are the trademark of Gilbert and Sullivan operetta--with careful articulation of the words. This allows viewers who aren't familiar with the play to follow the plot and understand the jokes. Yamakawa and Rupp are more conventionally operatic singers. Yamakawa's solos are lovely, and the music occasionally surprises with its beauty, as in the grief-colored "merry madrigal" near the beginning...
...show's standouts come from several of the purely comedic roles. Jason R. Mills '99 delivers the show's most delightful comic performance as Pooh-Bah, the state advisor who has taken upon himself all of Titipu's offices except that of executioner. Managing to make one of Gilbert and Sullivan's most enduring and well-known characters unusually likable, Mills retains the character's indispensable stuffiness: "I can trace my ancestry back to a protoplasmic primordial atomic globule," Pooh-Bah sniffs genially, as he explains his haughtiness to Nanki-Poo and the audience. "Consequently, my family pride is something...
...bride of Nanki-Poo, is played with both delicious villainy and a surprisingly subtle range of emotions by Tuesday Rupp. Bloodthirsty and terrified of her own encroaching old age, Katisha first appears in a cloud of smoke and an attitude that brings to mind Cruella de Ville. But, playing Gilbert and Sullivan's somewhat enigmatic character to the hilt, Rupp injects a disturbing and note of tragedy into the entire latter half of the play; in the complex weave of The Mikado, this cast of darkness works surprisingly well, lending the play an unusual depth and richness of texture...