The Mikado - Review

Charing Cross Theatre, London

***

Music by Arthur Sullivan

Libretto by W.S. Gilbert

Directed by Thom Southerland

Leigh Coggins

It may not be a Christmas show, but there is still a seasonally comforting familiarity to the Gilbert and Sullivan gems that make up The Mikado. The comic opera's timeless wit alongside melodies hard wired into every educated English-person, make for a show that one cannot help but smile throughout. Thom Southerland has set the 19th century work firmly in the roaring 20's, with flappers and jazz-hands making it a Thoroughly Modern Mikado. Whilst the costumes may bizarrely range from spats and bowlers through to kimonos and a Juan Peron lookalike Mikado, everyone looks sumptuous.

Aside from costumes however there is an all-pervading air of budgetary restraint. This most clever of scores has been economically re-arranged for two pianos and notwithstanding the excellent ivory tinkling of Dean Austin and Noam Galperin, there is a timbre and a texture to Sullivan's tunes that is lost in the reduction. Vocally too and with no-one mic'd, there is an apparent gulf in ability between the actors who have an operatic background and those more usually reliant upon amplification. That Matthew Crowe's delightfully foppish Nanki-Poo is occasionally inaudible (and this from a front row seat) is unforgivable. Likewise Hugh Osborne's Ko-Ko is a treat of a characterisation, but far too often his tuneful voice lacks projection. Mark Heenehan however brings just the right amount of blustering buffoonery to the title role.

The performing excellence of this production lies with its women. Rebecca Caine's Katisha is a masterclass. Her vampish, vulnerable and (sometimes) baddy is a flawless display of perfection in her craft, her voice filling the auditorium and her presence, alongside hilarious poise and facial expression, stealing every scene. Credit too to Leigh Coggins whose Yum-Yum also belies a career history in opera and whose voice often soars (delightfully) above those of her singing partners.

There are moments of sweet genius in this Mikado. Make sure to sit near the front and revel in some wonderful songs you've known since childhood.

Alex Young at the Leicester Square Theatre

Leicester Square Theatre, London

***

Alex Young

The Stephen Sondheim Society presented a sparkling hour of cabaret, where Alex Young gave a selection of the composer’s classic numbers amidst a set list that included other works. 

Wide-eyed and when required, teary-eyed too, Young immersed herself in the delivery of her songs. A talented singer, her mastery of Sondheim's caustically comic style was a treat in You Must Meet My Wife accompanied by Matthew Crowe, with both young singers giving a beautifully nuanced lilt to parts written with considerably older performers in mind. Crowe provided further support adding a finishing touch to Young’s neat take on By The Sea, from Sweeney Todd as well as setting the scene for her enchanting Children And Art from Sunday In The Park With George.

The evening wasn’t entirely Sondheim, with Young giving a refreshing interpretation of Tim Connor’s new writing, Back To School. Too many of her other choices however showed a tendency to resort to smut. Notwithstanding that the (predominantly) silver-haired Sondheim society audience may well have found some of Young’s selection vulgar, this clever singer would do well to remember, particularly with sexual references blatant or subtle, that less is often more.

A nod to Bacharach proved a rare and unexpected treat. In singing Whoever You Are, Young soared gloriously from ballad to belt, whilst her I’ll Never Fall In Love Again was a tender delivery of a tune more often condemned to muzak these days. Throughout, Andrew Smith’s piano accompaniment was assured, with Young’s vocal presence continuing to demonstrate to the Society that she remains a worthy winner of their 2010 Young Performer Of The Year award.