Word: yum-yum
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...Once married to the Shah's daughter Princess Shahnaz, Zahedi has since 1973 been cultivating a playboy image. His friends say they are convinced his mission is simply to demonstrate the Iranian way of swinging. Zahedi likes to give lavish parties where he showers his friends with "yum-yum," his favorite word for caviar, champagne and diamonds. His wooing techniques are quaint. Recently, Zahedi startled a blonde with a chorus of "kitchy-kitchy-koos" over the dinner table. And Columnist Maxine Cheshire reported a scene straight out of The Merry Widow. As Cristina Ford was leaving...
...orchestra, many singers fail to take advantage of it. Katisha (Marcia Ragonetti) had one of the best voices in the company, but she was miscast if she wasn't willing to put aside some of the beauty of her voice and simply bellow out her lines. And Yum-Yum (Deborah Shaw) was clearly inadequate in places--she sang sweetly, but without sufficient strength. Most of the others were better suited to their roles--Ko-Ko (Dennis Crowley), Lord High Executioner, was the most enjoyable portrayal of the production; Crowley wrung the most drama out of his role, remembering...
...whole G & S canon) and none for "There Is Beauty in the Bellow of the Blast," the only number that got an enthusiastic audience response of sustained applause and real excitement. He seemed in an inexplicable hurry to get on with the perfunctory "For He's Gone and Married Yum-Yum," and finish the show...
...commanding stage presence, and Andrea Goodzeit provided both of these. Her voice had a pure yet vibrant timbre which eclipsed all of the other singers. She is a fine stage actress as well as a singer, and her demeanor was well suited to the role. similarly, Deborah Ward, as Yum-Yum, the child bride, had complete control of the character, although her voice was at times weak...
...rest of the cast, at least through the first act, supported these two quite well. Michael Campbell as Nanki-poo and Deborah Strong as Yum-yum made clear voiced, well coordinated lovers, and Nancy Sproul's contralto Katisha was vibrant, if somewhat unintelligible when she didn't face the audience. Although the women's chorus was weak, they were offset by an orchestra that finished splendidly. The pace was much too slow in the second act--perhaps because everyone was a little tired from the fun that preceded...