No 39 -- Winter 1992–3 Edited by Michael Walters
Once the initial shock of black and white had worn off, this production was hugely enjoyable. One missed the colourful Japanese costumes of earlier days, but James Hendy's three–dimensional set and Davy Cunningham's effective lighting designs more than made up for this loss. Julian Jensen was a more than credible Nanki–Poo, a Herculean task, considering what a "wimp" this character is. For the first time in my experience, Nanki–Poo was a real flesh and blood character. Making a return visit to the Company this season is Terence Sharpe who was made to represent Pish–Tush as Chief of Police, complete with a Monty–Python ministry of Funny Walks. I wonder where the basis for making Pish–Tush Chief of Police comes from? [There is none. Ed.] Apart from fluffing his lines during a verse of "Our Great Mikado", his was a creditable performance. Gary Montaine's Pooh–Bah was superb in every detail, making it quite the best portrayal of the part I have seen in years. The entrance of the Lord High Executioner was most impressive: an enormous Samurai, complete with sword, who dwarfed his attendants. After the opening number, an ordinary individual emerged from the casing. The green and yellow jacket clashed horribly with his pink tights. Enthusiasts will welcome the return of "traditional" business, viz, the Executioner's first encounter with Nanki–Poo and his attempt to commit hara–kiri in his Act Two scene with Katisha. Fenton Gray played Ko–Ko absolutely straight [sic] and, thankfully, did not attempt to be funny. The only encore of the evening was "Here's a how–de–do" when Ko–Ko organised a number of ghouls to dance over Yum–Yum's grave. The tap dancing was most enjoyable.
The three little maids were strongly portrayed. Carol Leslie–Green stepped in for Leslie Echo–Ross; Janine Roebuck held her own as Pitti–Sing, and it was good to see Yvonne Patrick playing Peep–bo once again. Jill Pert was a formidable Katisha and made to appear terribly ugly. Her scene with Ko–Ko was played absolutely straight with even a touch of tragedy. There were no histrionics or attempts to send Gilbert up, which sometimes happens. For me this scene was the highlight of the evening. The Mikado literally towered above everybody else and John Rath's reading was to make the character wily and oily. [I didn't get this impression at all; perhaps he modified his performance since London? See my comment on Deryck Hamon. Ed.] There was busy chorus work in "A more humane Mikado", but the addition of hospital trolleys was totally unnecessary. Both the "little list" and the Mikado's Song had new lyrics, in each case the changes were tastefully made. DAVID SKELLY
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