Tag Archives: ENO

At the theatre: English National Opera’s “The Mikado”

When my parents visited in May, we took them to see the English National Opera‘s (ENO) production of Gilbert and Sullivan’s “The Pirates of Penzance.” It was such good fun that last weekend F and I attended another Gilbert and Sullivan production at the ENO — this time, “The Mikado”. Here’s my review:

Whereas the ENO “Pirates” took a minimalist and period approach to its setting and costumes, “The Mikado” took the cast and audience back to the 1920s. The set was a cream and white space on a tilted stage platform. The performers wore pristine suits and flapper dresses while speaking with über-posh English accents (plenty of diphthong!). There were even six male and six female dancers, dressed as waiters and maids, that added to the 1920s feel with tap dance and the Charleston. The only inconsistency was that, at least according to the libretto, they were still supposed to be Japanese.

Musically, “The Mikado” is a strong production. Anthony Gregory played Nanki-Poo with the right dose of romanticism and sang with a solid tenor voice. Mary Bevan’s Yum Yum complimented him well, although I was more impressed by Rachael Lloyd’s Pitti-Sing; she has more opportunity for comedy and has quite a few solos for a supporting character. Graeme Danby’s Pooh-Bah, however, stood out the most. Danby had solid comic timing in his (literally) multi-faceted role and his rich, agile bass voice and excellent diction were a joy to listen to. A musical highlight was listening to the above four singers join forces in Act II’s quartet, “Brightly Dawns Our Wedding Day” — beautiful.

Fergus Macleod led the ENO orchestra to a great performance that complimented the singers without overpowering them. The men’s and women’s choruses had good intonation, although their diction could have been better. There was more spoken dialogue in “The Mikado” than I expected and it gave me a chance to revel in the wittiness and precision of Gilbert’s libretto.

Trust the ENO to inject some present-day politics and pop culture into Gilbert and Sullivan — the operettas already use parody, after all. The ENO used Ko-Ko’s opening monologue, “As some day it may happen” or “I’ve Got a Little List,” to get digs at the English rugby team, the VW emissions scandal, and even David Cameron’s “close encounter with a pig.” Brilliant.

Overall, the ENO’s “Mikado” is well worth seeing. The setting is fun, the singing is strong, and the libretto is spot-on. It makes a great way to escape and enjoy a rainy weekend afternoon. Go see it if you have the chance.

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At the Theatre: English National Opera’s “The Pirates of Penzance”

I grew up attending the occasional community theatre production of Gilbert and Sullivan operettas, the most memorable being HMS Pinafore, The Mikado, and The Pirates of Penzance. That’s partly why discount TimeOut London tickets to the English National Opera (ENO) production of The Pirates of Penzance caught my eye. Even better, the dates coincided with my parents’ visit to London last week. My parents always enjoy a bit of theatre and music — after all, they’re the ones who dragged me to those community productions as a kid — so I snapped up some Saturday matinee tickets for Pirates. As if I needed further incentive, I also hadn’t yet been to see the ENO. Here’s my mini review of the production.

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The ENO’s The Pirates of Penzance was hilarious and good fun all around. We all liked the colorful, minimalist stage set: bold orange, green, and blue sliding half-circles, stairs, and a half moon “ship” worked effectively and kept the focus on the acting and singing.

Vocally, Claudia Boyle’s Mabel stole the show. Her effortless runs, pure tone, and range were particularly evident in the first half’s “Poor Wandering One.” The female chorus — playing the Major General’s daughters — produced a lovely one-voiced sound, and the male choruses (the pirates and the constables) were also strong.

While the singing was solid all around, unfortunately Robert Murray’s acting as Frederic was flat and couldn’t match Boyle’s comic timing as Mabel. Luckily, Jonathan Lemalu’s performance as the Sergeant of Police was spot-on and complete with a great Cornish accent; the character worked well alongside Rebecca de Pont Davies’ comically tragic Ruth.

David Parry led the orchestra well through the light and hummable score, although occasionally it took a few measures for the orchestra and singer(s) to settle into the same tempo.

I hadn’t seen a Gilbert and Sullivan operetta since before my days of musicology courses in college. With a much greater knowledge of 19th-century opera, I really appreciated the parodies of Romantic opera that Gilbert and Sullivan slip into Pirates: the overdone melodrama, impossible-to-fulfill promises, and an improbably (but pleasingly) happy ending.

In short, The Pirates of Penzance makes for a hilarious, rollicking afternoon and I’d highly recommend that you see the ENO’s production before its run ends.

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