By James O. Welsch
Contributing Writer
The genius of Gilbert and Sullivan lies in the kernel of sincerity that is at the very heart of their over-the-top, bawdy burlesques. Syracuse Opera Company’s production of “The Mikado,” directed by Richard McKee, revels in all the vaudevillian capers, hidden identities, and double entendres of the script, while skillfully revealing the humanity that is integral to its effectiveness. In McKee’s hands, and with stellar performances in leads and supporting roles, the local opera season opened with a hit Friday night.
Nanki-Poo (Matt Morgan) launches the story line, explaining his arrival in town with the tenor aria “A Wandering Minstrel I.” Thus disguising his identity as son of the Mikado (Kurt Link), and playing the part of the town's second trombone (yes, those jokes are still included these days), Nanki-Poo conspires to escape his impending marriage to the elderly Katisha and, instead, marry the fair schoolgirl Yum-Yum, who is about to be wed to her guardian, Ko-Ko.
The contained and dramatic voices of all the leads were perfectly suited to this genre, making the 19th Century Victorian characters still comic and compelling. In particular, Mezzo-soprano Cindy Sadler forged the perfect marriage of acting and vocal expression to vitalize Katisha. Her true mezzo-soprano voice was absolutely present on the Act I finale, when she vowed vengeance against Nanki-Poo. And, at that point in every good comedy when the stereotype falls away and the character has a deep, sincere moment, Sandler beautifully conveyed Katisha’s despair on the second act aria, “Alone and Still Alive.”
Matthew Hayward, baritone, played Ko-Ko, a physically demanding role that calls for precise comic timing. His Act I presentation of “The List,” was superbly rendered - both in acting and singing. Although staying true to Gilbert's intent and to the British rhetorical style, McKee inserted customary popular culture references to keep things current. In this regard the "raging feminist," "televangelist" and "Sarah who??" made an appearance. Hayward also gave an affecting performance of his Act II arietta "Willow tit-Willow…" (despite a second verse flub) as he tried to sell his sudden interest in the elderly court lady, Katisha.
Act I is heavy with exposition, setting up the intricate web of identities and plot lines, but the performers breathed life into each scene by making every line count and every song important. The ensemble work was stunning, with nice chemistry among Yum-Yum, Pitti-Sing and Peep-Bo on “Three Little Maids from School are We,” and real showmanship on the trio “I’m So Proud,” with Ko-Ko, Pooh-Bah and Pish-Tush. In every G&S production we wait for the patter song, and these three gentleman did a great job of presenting it - using characteristic Victorian control. The chorus was especially strong on the intricate Act I finale, when it has to carry the gradual growth of excitement and support Katisha’s pronouncements and revelations. To this end, the conductor, Richard Carsey, led a clean performance, well-appointed in gradual dramatic ascent.
Act II gives Katrina Thurman opportunity to take the spotlight when her aria "The Sun Whose Rays Are All Ablaze" signals Yum-Yum's transformation from innocent school girl to vain young woman. This act also highlights Yum-Yum, Pitti-Sing, Nanki-Poo and Pish-Tush on the madrigal "Brightly Dawns Our Wedding Day," including great unification of style in the extended a-cappella sections.
Kurt Link played an understated Mikado—a little less physical humor than some, but with a strong bass voice and a great sense of timing that elicited laughter, especially on his solo with chorus, "A More Humane Mikado." As the Pooh-Bah, Stephanos Tsirakoglou was tough and tender, a kind of God-father for Japanese opera.
Sets from Opera New Jersey were quickly modified to serve in both scenes with a minimum of changes. The light and airy lines and colors suggested a Japanese village without becoming a characterization of one. Costumes, too, were suggestive of what the British expected the more exotic Japanese to wear without being stereotypical. Of course, part of this piece's charm is it's intentional comic portrayal of a culture that, to some effect, is still a mystery to most Westerners. Still, the company does good work in keeping it from being offensive, all the while maintaining it's tongue-in-cheek construct.
The Syracuse Symphony provided reliable accompaniment throughout the opera with some truly wonderful passages in which the musicians produced an exceptional musical product. Their showpiece, the overture, was well-paced and initiated the listener to all the tuneful bits we would hear in the opera proper.
"The Mikado" can be approached in several ways to keep it fresh and prevent it from descending to the banal; Syracuse Opera has made all the best choices in this production. The audience was treated to an eye- and ear-pleasing version of this 125-year-old operetta, precursor to today's musical comedy.
Linda Loomis contributed to this review
The details
What: Syracuse Opera production of "The Mikado," by Gilbert and Sullivan. â¨
How Many: 1,183 Friday night.
When: 2 p.m. Oct. 24. â¨
Where: Crouse-Hinds Theater, John H. Mulroy Civic Center, 411 Montgomery St., Syracuse. â¨
Tickets: $19 to $164. Call 424-8200 or 476-7372 or go to Syracuse Opera.