THE HOT MIKADO To 13 June.
Hornchurch.
THE HOT MIKADO
based on The Mikado by W S Gilbert and Arthur Sullivan book and lyrics adapted by David H Bell music adapted and arranged by Rob Bowman.
Queen’s Theatre To 13 June 2009.
Tue-Sat 8pm Mat 4, 13 June 2.30pm.
Audio-described 13 June 2.30pm.
BSL Signed 10 June.
Runs 2hr 5min One interval.
TICKETS: 01708 334444.
www.queens-theatre.co.uk
Review: Timothy Ramsden 2 June.
Explains why some like it hot.
Director Matt Devitt and the Queen’s ‘cut to the chase’ actor-musicians come up with the – very good – goods in this 1986 piece, inspired by a couple of lost forties jazzed-up Mikados, and set in the jazz-age USA. The show rattles through the action, concentrating on songs and comedy, keeping just enough spoken dialogue to maintain the story-thread and provide some good laughs.
Most of Sullivan’s tunes remain, more or less wildly swung, while there’s a slight dumb-down of Gilbert’s lyrics (words like “effulgent” going). The original’s pastiche madrigal thrives as “Swing a merry madrigal” and fast numbers like the “short sharp shock” male trio or the female “Three Little Maids” are predictably great fun.
It looks a treat too. Matthew Eagland’s lighting bathes the stage in strong colours – purples, pinks, silver – while Mark Walters’ set creates a two-tier art deco period palace. Its only drawback is limiting space, cramping the scope of Liz Marsh’s choreography and denying the show a big production number.
There’s still plenty to enjoy from this multi-skilled company. Natasha Moore’s yummily demure Yum Yum is delectable in cream and blue wedding-outfit just at the moment she sweetly finds the limit to love. Besides singing and dancing, Moore contributes on the keyboard and decorates ‘Tit Willow’ with flute curlicues.
Kim Ismay is strong opposition as Katisha, plain of face but gorgeous in the left shoulder, her appearances accompanied by a foreboding bass riff. Sam Kordbacheh’s Nanki-Poo. Mikado’s son in disguise, sings strongly, while Stuart Organ’s Mikado arrives magnificently through the auditorium in his automobile, then, attired in an expansive red suit, adopts a comically relaxed sympathy as he condemns folk to death.
Togged out in goggly-glasses and a yellow outfit to make any Malvolio envious, Shaun Hennessy’s Lord High Executioner Ko-Ko struggles down to the stage through the bowing and scraping (of bodies) and blowing (of instruments) in his honour and proceeds to give a jewel of a comic performance, aided especially by Rowan Talbot’s Mr Fixit, Lord High Everything Else Pooh-Bah, ever at the end of a huge cigar, and with an answer for every occasion.
Pish-Tush: Jared Ashe.
Peep-Bo: Georgina Field.
Ko-Ko: Shaun Hennessy.
Katisha: Kim Ismay.
Nanki-Poo: Sam Kordbacheh.
Pitti-Sing: Jane Milligan.
Yum-Yum: Natasha Moore.
The Mikado: Stuart Organ.
All the Gentlemen of Japan: Steve Pretty.
Pooh-Bah: Rowan Talbot.
Director: Matt Devitt.
Designer/Costume: Mark Walters.
Lighting: Matthew Eagland.
Sound: Rick Clarke.
Musical Director: Julian Littman.
Choreographer/Assistant director: Liz Marsh.
2009-06-04 14:52:23