Opera San Luis Obispo produced a masterful recreation of a well-known and loved musical theater offering from 19th century Great Britain last weekend at the Performing Arts Center San Luis Obispo.
Brian Alhadeff, the company’s general and artistic director, ascended the podium to enthusiastic applause, which abated as soon as he directed the orchestra to begin the overture to Gilbert and Sullivan’s The Mikado.
As was typical of comic opera overtures from that period, the music was a pastiche of what the composers deemed to be important musical events in the forthcoming full scenes. At the appropriate moment, the curtain then rose.
Once again, set designer and technical director Erik Austin and his crew crafted eye-catching scenery for the imaginary Japanese village of Titipu, including a Shinto torii gate, pagoda and majestic Mount Fuji-like peak as a backdrop.
The noblemen’s chorus entered and proceeded to introduce themselves to the audience in true Japanese Noh play style—with immaculate intonation and blend:
“If you want to know who we are,
We are gentlemen of Japan:
On many a vase and jar—
On many a screen and fan,
We figure in lively paint:
Our attitude’s queer and quaint—
You’re wrong if you think it ain’t, oh!”
Okay, maybe in true parody of Japanese Noh play style.
What followed was a brilliantly portrayed satire skewering many of the traits of the late Victorian upper crust, thinly veiled in 19th-century Japanese clothing.
Speaking of clothing, costume designers Karen Russu and Sherry Sparks and their crew did superb work on the colorful robes, kimonos and military attire, with special attention to makeup and hairpieces. Whether or not they made the folded fans, their loud snapping sounds when opened or closed added delightful punctuations to the performance.
Ah, the solo roles! Nine of them, to be exact—counterbalancing four choruses. With all their absurdly weaving plot interactions, you might think this is where English mystery authors get their ideas. So forgive me for using a bit more granular structure here in an attempt to reduce confusion.
- Esteban Rivas (bass) as The Mikado: Rich, resonant bass. Great intonation, good role characterization. Diction needs a bit of work to help audience understanding.
- Manfred Anaya (tenor) as his son, Nanki-Poo: Bright, sensitive voice. Very flexible. Good comic timing. Blended well with Yum-Yum. Believable characterization. Good imitation of the Queen’s English.
- John Laird (baritone) as The Lord High Executioner of Titipu Ko-Ko: Definite scene-stealer. All-around solid baritone. Great acting chops.
- Isaiah Musik-Ayala (bass) as Lord High Everything Else Pooh-Bah: Another scene-stealer. Polished actor and singer. Nuanced physical comic acting—especially when expecting a bribe.
- Colin Toohey (baritone) as a Noble Lord Pish-Tush: Great stage presence. Excellent voice.
- Elise Walters (soprano) as Ko-Ko’s ward Yum-Yum: Glorius voice. Hilarious comedic acting chops—another scene-grabber.
- Rae Shrum (mezzo-soprano) as Ko-Ko’s ward Pitti-Sing: Superb solo voice. Great character acting. Phenomenal ensemble blending.
- Kaitrin Cunningham (soprano) as Ko-Ko’s ward Bo: Excuse my redundancy, but . . . Superb solo voice. Great character acting. Phenomenal ensemble blending.
- Megan Potter (contralto) as an elderly lady Katisha: Incredible interpretation with an awesome voice. Definitely scene-thief number four. “Alone and Yet Alive” certainly tugged at my heartstrings
Let’s not forget the spot-on performance from the Opera SLO Grand Orchestra under Maestro Alhadeff’s deft baton . . . and the performances of the myriad ensembles: women’s, men’s, children’s and combined choruses; and the fluid Deyo Dancers from the Civic Ballet of San Luis Obispo.
To all you intrepid troupers: Bravo, Brava, Gimme More!