Word: mikado
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Dates: during 1970-1979
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...stern Fairy Queen and a half-Fairy named Strephon, who is a Fairy from his head to his waist but whose legs are mortal. As in most G&S operas, there is a foolishly severe law that needs to be broken before happiness can be achieved--in The Mikado it is the prohibition of flirting, in H.M.S. Pinafore it is the prohibition of swearing, in Ruddigore it is the commission of one evil deed a day. In Iolanthe it is the Fairy law that "it is death to marry a mortal...
JUDITH SOMOGI, 34, conducted a performance of Gilbert & Sullivan's The Mikado in March 1974 and became the first woman on the podium of the New York City Opera. Then she warmed up her baton on a dramatically authoritative La Traviata and a breezy production of Donizetti's The Daughter of the Regiment. Somogi joined City Opera as a coach and rehearsal pianist in 1966. Do orchestras react differently when the maestro is a woman? "When I wore my low-cut dress, there was some notice," admits Somogi. "Well, Zubin Mehta is a very good-looking...
...Elmer's Glue-All and piles of dingy muslin are stacked along several walls. An old upright piano, its guts exposed, has been pushed over to one corner. Grade school desks with writing arms and stenciled numbers on the backs are scattered around the room and an old Mikado poster from the fall is tacked up on one wall. Despite the clutter and trash, Shannon seems empty and a little forlorn...
...Mikado. The production lacks exuberance, but it's still solid Gilbert and Sullivan and that should help just about anyone's term-paper blues. At the Agassiz (a wonderful theater, incidentally, with good acoustics and a sense of intimacy unique among Harvard's auditoria, even if it is structurally unsound), tonight, tomorrow...
...technical activities at the highest level of proficiency in order to keep G & S worth seeing again and again. This means taking Gilbert and Sullivan more seriously, as if they really were worth spending a lot of time and energy thinking about and producing. This production of The Mikado seems vaguely ashamed of itself; its hesitance is the product of defensiveness. Director Lindsay Davis contents himself with drabness in order to escape being accused of outrageousness or extravagance; the cast camps in order to escape being accused of taking itself too seriously. If only they relaxed and went overboard once...