Word: katisha
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Dates: during 1950-1959
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...Taylor's Ko-Ko lacked some of the vocal finesse that this role could use, but his acting was very funny. Alison Keith was again Gilbert's answer to Medea, (this time as Katisha); again struggling through the songs and plunging through the hamming like an old pro. Joan Rosenstock contributed some more pleasant singing, and William Jacobson and Merry Isaacs rounded out the cast of principals. George Nelson and Barrie Wetstone handled the piano score ably, and musical director Burton Dudding kept everything going nicely...
...withdrew to her little Oxford bedsitting room, and for ten hours each day sat scrawling appeals to Gilbert & Sullivan fans the world over, requesting their signatures for the petition she was preparing for Parliament. Seared into her mind were reported visions of Mike Todd's Hot Mikado with Katisha as an opulent, raucous blues singer, and of a Los Angeles Yum-Yum yodeling "stark naked in her bath." Soon Crusader Alderley began to get reports from the U.S. (where G. & S. operas are not protected by copyright) detailing even more flagrant abominations: a "gutbucket" Mikado with a "hula-hooping...
Elizabeth Hubbard, Mary Bartlett, and Barry Morley are all outstanding in the principal singing roles. Miss Hubbard, as Katisha, is particularly excellent, her fine contralto voice and knack for slapstick evoking enthusiastic audience approval in the patter song, "There Is Beauty in the Bellows of the Blast." The whole production was helped greatly by the crisp singing of the on-and off-stage chorus, a tribute to Musical Director Norman Shapiro...