Review of The Mikado
Sayonara to tradition as kimonos give way to fishnets, cellphones
Just when you’d resigned yourself to opera’s muted browns and beiges, to its clunky, weighty sets complete with woe-is-me-aria balcony and token bit of fake foliage, along comes a visually stunning, modern-day spin on The Mikado, chic and cool and youthful, dispelling any doubts this art form is headed the way of the dodo.
Edmonton Opera’s contemporization of the Gilbert and Sullivan hit is a feast for the eyes thanks to Deanna Finnman’s gorgeous, outlandish costumes inspired by Japanese street fashion. Kimonos, the classic getup for
The Mikado, were aplenty in the crowd at Saturday night’s sold-out performance, but there was little of this on stage. Cheeky schoolgirls donned electric pinks and reds, fishnets and stripes. Pinstriped businessmen carried ipads and cellphones, used to great effect in the opening scene. Our wandering minstrel, Nanki-poo (Scott Scully) sported loud colours and a cartoonish, oversized coif reminiscent of Elvis. Deliberate clashing, and not an earthy tone in sight. Imagine a bowl of jelly beans in song.
I’m a sucker for new school and was excited as soon as I saw the Edmonton Symphony Orchestra onstage. It made the show feel more collaborative, plus the singers didn’t have to shout over the sound from the pit. And I loved the simplicity of the set: white riser with steps, plus a sheer white curtain separating the action from the orchestra. Lighting designer Geoffrey George created a backdrop spray of pink blossoms, just the right hint of cherry trees in springtime and conveying the show’s light tone.
Gilbert and Sullivan’s most successful comic opera, which premièred in 1885, still rings true today as a satire of politics and the law, and this production Canadianizes muchly, with references to the oilsands, Justin Bieber, the gun registry and Tim Hortons. It’s local, but not too yokel.
Tenor Scully, as Nanki-poo, and baritone Curtis Olds, as Ko-ko, made me respect the challenges of the profession. You can’t just be a good singer; you have to be fit and act and dance. There is a lot of choreography in this Mikado, and it impressed me how smoothly the singers managed the physical demands on top of the vocal ones. Olds is especially endearing as the campy, conspiring Lord High Executioner of Titipu, his hairdo reminiscent of Alfalfa in Little
Rascals.
Soprano Andriana Chuchman radiated as the lovable if vain brideto-be Yum-yum. Chuchman’s voice has grown lusher since she appeared
with Edmonton Opera in Daughter
of the Regiment. And what a high D! Erin Lawson, as Yum-yum’s sidekick, Pitti-sing, made a vivacious soubrette.
Baritone John Avey’s entrance as the Mikado is worth the wait. His look channels Bozo the Clown, Moammar Gadhafi and Doc from
Back to the Future. It’s pretty slick, and don’t worry, the squeakiness isn’t coming from Avey, but rather his means of transportation.
Tradition is out the window with this show, directed by Rob Herriot, and as far as I’m concerned,
it worked. Let’s hope The Mikado speaks to the direction Edmonton Opera’s heading.