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Cape Cod Opera
delivers a Mikado that is brilliantly conceived and flawlessly executed, providing the gold standard of excellence
for others to follow.
Maria Ferrante as "Yum-Yum" and Jason McSoots as "Nanki-Poo" hope they don't make the list being prepared by the Lord High Executioner. Photo Robert Tucker, "Focalpoint Studios".
By Paul Joseph Walkowski
OperaOnline.us
Beth MacLeod, the new artistic director for Cape Cod Opera, showcased her first production as artistic director with Gilbert & Sullivan’s, hilariously tuneful, “The Mikado” (11-13 August) and what a "howdoyoudo" it turned out to be.
This is the story of Nanki-Poo, son of the Mikado of Japan, traveling in disguise to avoid having to marry Katisha, an elderly lady of his father’s imperial court. In his travels he meets and falls in love, instead, with Yum-Yum, the ward of the High Executioner Ko-Ko, who just happens to be looking for someone to execute to placate the Mikado who complained that there weren’t enough executions like in the good old days. Ko-Ko, before being elevated to the position of High Executioner, was a humble tailor who, himself, was sentenced to meet the executioner’s blade for the crime of “flirting” – but now having been so elevated, thinks it might be unseemly, if not down right impossible, for him to cut off his own head. Since Ko-Ko wants Yum-Yum for himself, and a victim must be found, who better to fit the bill for a royal beheading than the hapless Nanki-Poo. The only problem is, unbeknownst to the people of Titipu, the traveling minstrel is The Mikado’s own royal blood. Not to worry, though, by the time the plot works its way through its various permutations in the second act everything is settled, no one is beheaded, and all go home well.
And go home happy we all went, spirits lifted, after yesterday afternoon’s brilliantly conceived and flawlessly executed production that not only sets a new standard for this worthy local company, but provides a gold standard of excellence for others to follow.
Everything about this production was noteworthy: from gloriously colorful, full costumes, by Linda M. Arthur, to an economical and simple, yet elegant, set design (consisting of three traditional Japanese arches in aqua on a burnt orange faux marble platform, set off again a scrim that changed colors from scene to scene and mood to mood) courtesy of set designer Cara Marcy, to a kaleidoscopic array of color -- in one scene the backdrop gradually changed from light orange at the top fading into a dull blue at the bottom, with a large white sun projected on the background, to a full deep blue sky with a red sun – brilliant, brilliant, brilliant, thanks to Anne B. Kiefer. Add to these artistic achievements, smart stage direction by Richard Conrad that moved characters about fluidly and naturally from scene to scene, and all presumably under the overall artistic direction of Beth MacLeod, and you have a sure fire winner on all production counts. Everything about this performance deserves high praise and receives it here.
Richard Conrad reads the "List" of people Titpu can certainly do without. Photo: Robert Tucker, "Focalpoint Studios"
Cape Cod Opera always suffered as an opera company of note to some degree because it lacked an orchestra, something which has troubled this reviewer, even though the productions I have seen in the past with piano accompaniment, courtesy of Lucy Banner, were always well done. This production benefited from a small but surprisingly full orchestra, conducted by Steven Karidoyanes (Conductor and Music Director of the Plymouth Philharmonic Orchestra). Hopefully, this will be an addition we see in all future productions. It makes a huge difference and adds immeasurably to the enjoyment of a performance. I am also confident that once word gets out, it will add even more enthusiasts to the Cape’s opera audience base.
The male cast here, headed by last year’s “Best Of” award winner, Richard Conrad, as the hapless Ko-Ko (Lord High Executioner), Brian McNeil as Poo-Bah (The Lord High of Everything Else), Thomas Crumb as the equally hilarious Pish-Tush (a Noble Lord) , Jason McSoots as Nanki-Poo, and Philip Lima as the golf enthusiast Mikado (he actually hit several smurf balls into the audience) gave superb, flawless performances both vocally and as actors. Mr. Conrad, particularly, is an example of studied perfection. Is there anything this man can’t do well? What made this production so truly amazing, though, is that each of the performers mentioned above never missed a queue. They sang, they acted, they danced, they jumped about, they moved around the stage naturally and smoothly while doing everything a performer is supposed to do, keeping the audience’s pleasure foremost in their sites as they went about their business. Multiple Bravos for this wonderfull cast.
On the female side, the performances were equally demanding and equally praiseworthy. Maria Ferrante as Yum-Yum, Lorna Jane Norris as Pitti-Sing, Marie McCarville as Peep-Bo and of course, Martha Evans as the elderly Katisha in pursuit of Nanki-Poo – all gave vocal and visual performances that added immeasurably to the fun of this wonderful show. They sounded great, they looked great (especially Martha Evans in her outrageous, Barney-topped hat) and they obviously had fun with these ridiculous characters, easily conveying their fun to the audience. Brava! Brava! Brava!
Interestingly, because this production was sung in English, you would think it easier to understand the words of the libretto – but that’s not always the case – for this production is still performed without microphones. In spite of this the diction was flawless and understandable and delivered without anyone screaming or over-annunciating along the way.
Lastly, there is the Cape Cod Opera Chorus. In a word: excellent! They were the best I have ever seen them, and coupled with the expert way they moved about the stage, danced and interacted with the lead players – well, it doesn’t get any better. Much credit here has to go to Ruth McKendree Treen, the choral director for the performance.
One last additional word about this show: The Tilden Arts Center Theater never looked better. I noted in a previoous review that the Tilden has a wide stage (think cinemascope dimensions) and a lighting practice before the show that casts the curtain in a rich magenta/maroon color, giving an air of elegance to the 500-seat, air-conditioned theater. Hopefully, this theater will become the permanent home for Cape Cod Opera. It’s easy to find, has ample, free parking, and has comfortable seating, including a small balcony.
I loved this production and hope that in the coming season ("Hansel & Gretel," November 24, 25 & 26; "An Evening of Operatic Gems," December 30; and "The Marriage of Figaro," set for the Spring) the production level remains as professional, imaginative and colorful as it was Saturday afternoon. Cape Cod Opera deserves and gets a huge thumbs up for this marvelous and tuneful production.
Conductor, Steven Karidoyanes
Director, Richard Conrad
Artistic Director, Beth MacLeod
Choral Director, Ruth McKendree Treen
Lighting, Anne B. Kiefer
Costumes, Linda M. Arthur
Sets, Cara Marcy
