No 39 -- Winter 1992–3 Edited by Michael Walters
After the disappointment of YEOMEN on Monday night, this was a refreshingly enjoyable performance on the whole. Martin Hadley's orchestration of the overture produced an interesting interpolation which did not go unnoticed by a discerning audience, who perked up and listened more carefully thereafter! I found Fenton Gray's characterisation of Ko–Ko to be much better considered and delivered than his Point earlier in the week. I did not, however, like his "knitted jumper" costume. Ko–Ko is a tailor, and a tailor would take more care of his attire, if merely to advertise his craft should his post as Lord High Executioner be, well, terminated. And at least we were given an encore for "Here's a how–de–do", if only one! I liked the new words for the "Little List" song and also the Mikado's "Punishment Fit the Crime". Ah, yes, the Mikado! Twelve feet tall in his stilted feet! Once the audience had recovered its breath from his overpowering appearance and presence, John Rath proceeded to steal the show with his performance. He would have succeeded in doing this without wearing stilts, however. Similarly Jill Pert's commanding characterisation of Katisha, with emotions ranging from abject dismay and depression to delight and love of Ko–Ko, was a performance on which many lady amateurs should model themselves. I was, however, disappointed with Keel Watson's Pooh–Bah, which was quite overshadowed by both Ko–Ko and the Mikado. The lack of "business" and rapport between him and Ko–Ko was very obvious, and I would prefer to see the D'Oyly Carte producer return to a more familiar, and lovable, Pooh–Bah. The set, which I so very much disliked for YEOMEN, this time worked admirably for THE MIKADO, although I would have preferred more of the action to take place out of doors. I also did not like Nanki–Poo and Yum–Yum disporting on a mattress. One can see Victorian Gilbert spinnning in his grave at that one! If the D'Oyly Carte are to succeed on a long term basis, I would sincerely hope that they will be able to retain most of these performers in order to create again what was such an integral part of the "Classic" company – continuity of performers with the creation of "stars". LINDA WOOD
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