Skylight Music Theatre offers sizzling ‘Hot Mikado’
Skylight Music Theatre’s “Hot Mikado” lives up to the “hot” part in a big way.
The production, which opened at the Cabot Theatre Friday evening, is a well-crafted, high-energy, jazz-infused romp. Its success rests exactly where it should: on the shoulders of the exceptionally versatile singer-actors inhabiting the famously foolish characters of the original Gilbert and Sullivan operetta, “The Mikado.”
Directed by Austene Van and choreographed by Garry Q. Lewis, the show is a foot-tapping, roof-raising amalgam of the original operetta and two late-1930s updates, “The Hot Mikado” and “Swing Mikado,” which was created in 1986 by David H. Bell and Rob Bowman.
Ko-Ko, Yum-Yum, Pooh-Bah and the gang are all here in “Hot Mikado,” along with the comic twists of Gilbert’s ridiculous “topsy-turvy” plot, some political and cultural jabs updated to the present day, eruptions of stage-filling swing dancing and a lot of fine, seriously strong and stylish singing.
Jamecia Bennett blew the walls down — twice — on Friday, singing the role of Katisha with a thrilling combination of power and style and creating a glowering, formidable character.
Chris Klopatek’s Ko-Ko was a feat of spot-on timing and comic character acting/singing that kept his character flirting with hysteria throughout the show.
Rana Romans’ Yum-Yum and Michael Penick’s NankiPoo were beautifully matched, both in strong, stylish vocal deliveries and in the sweetly oblivious characters they created.
Ryan Cappleman’s PoohBah delivered a comic delight, inhabiting his job as the “Lord High Everything Else” through uproariously schizophrenic impressions.
Kevin James Sievert’s PishTush, Alexis J. Roston’s PittiSing, Christine Burgess’ PeepBo and Peter Sipla’s Mikado (and yes, in topsy-turvy fashion, the title role is a supporting character) were all fine, adding wonderful sizzle to the show.
Ensemble members James Carrington, Shawn Homes, Sean Jackson, Carmen Risi and Ava Thomann raise the big numbers to a wonderful frenzy of soaring singing and hot dancing.
Sarah Brandner’s clean, balanced sets and Brian C. Hemesath’s culture-crossing costumes (kimono sashes on 1930s dresses) framed the show beautifully.
The show was accompanied by an onstage ensemble of Tom Schlueter (trumpet), Kyle Samuelson (trombone), Curt Hanarahan (winds), Tom McGirr (bass) and Michael Lorenz (percussion) and conductor Tim Lenihan.