Boston After Dark--April 16-23

Mikado well executed by the B.U.Savoyards by Eleanor Weber

The success of The Mikado as performed by the Boston University Savoyards this weekend is threefold: it is peopled with highly entertaining characters, played by actors-singers obviously enjoying their roles; the production shows evidence of thoughtful and intelligent direction (by Constance Miller) in the almost choreographic use of a poor stage; and visually, you could almost taste the lush colors of the gay and vivid satin costumes (by Carolyn Garrett), and excessive mask-makeup (by Judy Kelly) was appropriate and effective. Set on a tiny, awkward stage in Room 12 in the basement of the College of Liberal Arts (725 Comm. Ave.), the show was mounted with a simple, flat backdrop which innocuously but adequately served to enlarge the scene. Why the college cannot provide its talented amateurs with a better auditorium is an unfair mystery--the players certainly deserve better facilities than a high school lecture hall which forced the audience to seek out the total effect by peering back and forth around heads. The Mikado is concerned with the outrageously reasonable proposition that Lord High Executioners must lord-high-execute or lose their heads. First in line for decapitation is Ko-Ko, condemned, in this simple time, for the egregious fault of flirtation. Searching for a suitable substitute, he and his cohort Pooh-Bah (Lord High Everything Else) select a wandering minstrel named Nanki-Poo, who, naturally is willing to commit suicide all for the love of the unattainable Yum-Yum who, naturally, is betrothed to Ko-Ko--naturally. Of course, Nanki-Poo is the son of the Mikado, emperor of Japan, and he has fled his fathers house to escape a fate worse than marriage to elderly, ugly Katisha. The exciting denouement shall remain a surprise. Trent L. Jones as Ko-Ko and Jeffrey Weisenfreund as Pooh-Bah unquestionably stole the show. Their characterizations were rich and consistent, and they handled pieces of stage business as smoothly as their grandiloquently delivered lines. Jones, obviously very much at home in the Gilbert and Sullivan mode, performed with Cyril Richardian flair. Weisenfreund was perfect as a portly, pompous plum. The Mikado, dressed as an astrologer of the Boris Karloff variety, was well acted and sung by Alan Abrams, master of the disgruntled, disdainful frown. The vain but loving Yum-Yum was played clearly and prettily by Linda T. Houpt, a lovely-voiced soprano. The secondary roles of Pitti-Sing, sister to Yum-Yum, and Pish-Tush, a noble lord, were acted in a lively way by Juliet Cunningham and Robert C. Gaston. Less successful was Noreen Tuross as Katisha, whose voice seemed strained, and whose characterization though dramatically effective not strongly enough formidable and undesirable. Nanki-Poo was the only serious disappointment of the evening; he was stilted, and his voice needed amplification, to say the least. "This," as one character said, "is a time for airy persiflage." The B.U. group turned that persiflage into art.

The Razor's Edge (Sponsored by Newman House)--May 1969

The Mikado

The B.U. Savoyards' production of Gilbert And Sullivan's Mikado was definitely a feather in their theatrical cap. The production was a difficult accomplishment, due to the operator's rapid, humorous dialogue. But the actors, especially the Mikado (Alan Abrams), Ko-Ko (Trent L. Jones), and Katisha (Noreen Tuross) projected both the dialogue and comedy very well. Much credit must also be given, though, to the ingenious direction of Connie V. Miller. One cannot help but laud the miracles she performs with the stage at Rm. 12 CLA. That stage has no width, no depth, and no height. The room has no orchestra pit, no lighting and absurd sight lines. But The Mikado, with sets, scenery, orchestra, lights and a rocking, rollicking musical, with dancing, singing and action. In other words we have movement on a stage which defies one to move. To see interesting choreography and blocking on such a stage deserves an accolade, but I cannot help but wonder the miracles the Savoyards could work on a decent stage. It is the University's duty to see that they get a stage deserving of their talent instead of some niche in Rm. 12 CLA; we, as students, should see to it!

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