Disappointing in a fair number of instances actually. One because The Mikado ties with The Pirates of Penzance as Gilbert and Sullivan's best operetta. Two because Opera Australia have done a lot of productions that I've really enjoyed. And three because there are some very talented people involved here. There were certainly things that were good. Richard Alexander's Mikado was commanding, arch, suave and subtle with good comic timing and a voice that is capable of a strong middle as well as volcanic low notes. Jacqueline Dark's Katisha is both demonic and poignant, and sings with thrilling intensity and lovely tone. Warwick Fyfe is also solid, he probably has the most beautiful voice of the male singers and while there are funnier Pooh-Bahs around he still is amusing and a likable rogue and the more mellow approach was somewhat refreshing. The supporting roles of Pish-Tush, Pitti-Sing, and Peep-Bo are beautifully performed, the ability to make much of little was evident. The score here is also complete virtually, though with one absence which will bother some and for some it won't matter at all.
There were things that I was mixed about. What there is of Gilbert's dialogue is very witty and funny and still maintains its freshness. The additional and updated dialogue however is hit and miss and you can tell when it is Gilbert and when it isn't, it is an jarring effect and one I don't think you should be feeling. The orchestra have a lovely vibrant tone to their playing and generally it is a stylish and nicely done reading. It doesn't always come together in ensembles though with the brass having a tendency to drag, and the unnecessarily re-written overture doesn't have much life. The conducting is good and accommodating in solo moments, but less good in ensembles where it gets erratic.
Many things disappoint. The chorus clearly looked as though they were struggling to keep up, they are very sloppy rhythmically and their words are garbled. Their acting is also lacking, it is static with little distinct personality. The choreography and staging was fast-paced and had some witty moments but most of it was too busy and silly, giving us little time to breathe or be genuinely touched by Tit Willow and The Sun Whose Rays. The costumes and sets are overly saturated and gaudy with make-up that is too larger-in-life, as harsh as it sounds the high school comparison is apt in describing the production values here. It needed a more subtle touch to be properly authentic and oriental, and the incoherent(too fast and busy) and blurry camera-work doesn't help. Kanen Breen for my liking overacts and grimaces too much as Nanki-Poo, and while he does have a lovely lyrical voice his interpolated high C was somewhat gratuitous and misplaced. The Yum-Yum of Taryn Fiebig sings beautifully(though The Sun Whose Rays could have had more freedom tempo-wise) and does well at being genuinely feminine but is rather bland dramatically especially in the comedy. And while people will find Mitchell Butel hilarious, I found his Ko-Ko, though with an adequate enough voice, too wild and hammy, what he did with the little list song came across for my tastes too crude and irritating. Balance between the orchestra and singers is poor too, the worst case being that the orchestra is often too loud for the chorus.
Overall, disappointing Opera Australia production. Seeing as their 1990s and 2000s G&S productions are so much fun that further adds to that notion. For the best Mikado, look to the Stratford, John Reed or Eric Idle productions. 4/10 Bethany Cox
There were things that I was mixed about. What there is of Gilbert's dialogue is very witty and funny and still maintains its freshness. The additional and updated dialogue however is hit and miss and you can tell when it is Gilbert and when it isn't, it is an jarring effect and one I don't think you should be feeling. The orchestra have a lovely vibrant tone to their playing and generally it is a stylish and nicely done reading. It doesn't always come together in ensembles though with the brass having a tendency to drag, and the unnecessarily re-written overture doesn't have much life. The conducting is good and accommodating in solo moments, but less good in ensembles where it gets erratic.
Many things disappoint. The chorus clearly looked as though they were struggling to keep up, they are very sloppy rhythmically and their words are garbled. Their acting is also lacking, it is static with little distinct personality. The choreography and staging was fast-paced and had some witty moments but most of it was too busy and silly, giving us little time to breathe or be genuinely touched by Tit Willow and The Sun Whose Rays. The costumes and sets are overly saturated and gaudy with make-up that is too larger-in-life, as harsh as it sounds the high school comparison is apt in describing the production values here. It needed a more subtle touch to be properly authentic and oriental, and the incoherent(too fast and busy) and blurry camera-work doesn't help. Kanen Breen for my liking overacts and grimaces too much as Nanki-Poo, and while he does have a lovely lyrical voice his interpolated high C was somewhat gratuitous and misplaced. The Yum-Yum of Taryn Fiebig sings beautifully(though The Sun Whose Rays could have had more freedom tempo-wise) and does well at being genuinely feminine but is rather bland dramatically especially in the comedy. And while people will find Mitchell Butel hilarious, I found his Ko-Ko, though with an adequate enough voice, too wild and hammy, what he did with the little list song came across for my tastes too crude and irritating. Balance between the orchestra and singers is poor too, the worst case being that the orchestra is often too loud for the chorus.
Overall, disappointing Opera Australia production. Seeing as their 1990s and 2000s G&S productions are so much fun that further adds to that notion. For the best Mikado, look to the Stratford, John Reed or Eric Idle productions. 4/10 Bethany Cox
