THE MIKADO: Notwithstanding the whipping winds and ominous-looking clouds, Salt Lake City Community College's Grand Theatre kicked off its Gilbert and Sullivan Festival Thursday night with optimism and zeal.
The lawn surrounding the Alder Amphitheatre formed a stage for a diverse little Greenshow. Beginning at 7 p.m. each night of the festival, dance, melodrama and face-painting provide a playful prelude to the show."The Mikado" embodies the best things about Gilbert and Sullivan. It has all of the pretty operatic sounds but not a trace of the pretension found in other opera. In fact, it is a full-blown, knee-slapping comedy, even for audiences of today. Originally written in 1885, "The Mikado" is set in the fictional Titipu, Japan.
The story follows the hilarious adventures of Nanki-Poo, a misplaced royal, as he meets an executioner who cannot "kill anything," a public servant who holds so many positions he could arrest himself and a beautiful maid named Yum-Yum.
This particular production had many strengths. Especially admirable was the way the cast handled the trials of a sound system gone terribly awry. There was all kinds of fuzzing and buzzing of microphones during the first act.
At one point Pooh-Bah, played by John Prather, had a member of the production staff reach inside his coat to arrange a malfunctioning microphone while delivering lines onstage. He managed to stay in character unflinchingly.
Prather, along with the other comedic centerpieces, Rebecca Rodgers Hansen (Katisha) and Alan LaFleur (KoKo) were all quite hysterically funny.
LaFleur (KoKo) made numbers like "Titwillow"and "Cheap and Chippy Chopper" perfectly charming.
Complete with a reference to Newt Gingrich on a list of those who would "none of them be missed" and a wisecrack about UDOT, the comedy in this production was right on.
W.S. Gilbert would have encouraged this type of comical script doctoring. He pioneered the practice of inserting contemporary issues in place of original texts, often insulting the likes of Queen Victoria herself.
Also a strength to the production were the voices of the two romantic leads. Josh Christensen (Nanki-Poo) has a very pleasing, crisp tenor voice and Kathryn Blanchard had a chance to utilize her beautiful, piercing soprano on pieces like "The Sun and I."
Even though the weather was not on their side, the cast did have the support of a small but sturdy orchestra, complete with "Mikado" inspired attire.
The cast costumes, by Diane Allen, were lovely, especially Katisha's. It had all the harsh colors and dramatic proportions befitting an aged shrew.
All of the elements came together for an excellent show. Salt Lake Community College's Gilbert and Sullivan Festival is sure to have a healthy run with this strong production of "The Mikado" on the menu.
THE PIRATES OF PENZANCE: The second night of the Gilbert and Sullivan Festival found me at an incredibly charming production of "The Pirates of Penzance." This magical little operetta revolves around a pirate apprentice and his only folly - a sense of duty.
As a young boy Frederic is apprenticed by mistake to a pirate rather than a pilot in a tragic mistake by his nurse, Ruth. Just as he is to marry and leave piracy, his plan is undone by an unfortunate loophole and the vision of a beautiful girl named Mabel.
The "too tender-hearted pirates" gave the production a hearty beginning with "Pour, O Pour the Pirate Sherry." The sound system amplified their boot stomping and shuffling but thankfully the singing was loud enough to mostly overpower it.
The female chorus was very strong as well. They were a little quiet at first but this was probably due to the extreme amounts of energy involved in all that giggling and carrying on.
Anthony Buck had a good time with the role of Major General Stanley. He sang his speedy little episode in "Hold Monsters" with fierce accuracy. Buck's portrayal of the Major General was the tottering, lovable old character audiences adore.
Rebekah Nye has an amazingly strong voice, and it was showcased well with the acrobatic, operatic runs in songs like "Oh, Is There Not One Maiden Breast?" and "Poor Wandering One!"
Matt Crawford endowed the part of Frederic with a spry, almost Peter Pan-like quality, and his voice just soared on numbers like "Oh False One, You have Deceived Me" and "Oh, Is There Not One Maiden Breast?"
The choreography in this show, done by Brent Schneider, was a stand out element even though it was not always perfectly executed. What Schneider created for the police chorus was sort of a Charlie Chaplain-esque little bit of marvelous footwork.
In fact, the police chorus, especially the Sergeant of Police, played by Tyler Oliphant, was a highlight of the show. Oliphant hit those incredibly low notes in "Then, Frederic, Let Your Escort Lion Hearted" with ease.
The costuming in "Penzance," also done by Diane Allen, was excellent with the possible exception of Mabel's wig. It looked like some sort of cotton ball accident.
"The Pirates of Penzance" is an especially lovable comedy written by two masters. It is as funny today as it was to 19th century audiences. This production fits right in under the stars where Gilbert and Sullivan are looking down and smiling on this talented cast.