I took Erika to see the Toronto Operetta Theatre’s The Mikado Revisited at the Jane Mallett Sunday afternoon, wanting to escape from the world. Other than the usual topical jokes (and what’s Gilbert & Sullivan without references to current events) we were in an altered reality with a different prime minister. Guillermo Silva-Marin’s new version removed the Japanese references from the Mikado, reframing the story in a Canadian context.
What a great feeling when high expectations of a show are satisfied.
First and foremost I should mention the contribution of Narmina Afandiyeva conducting the TOT orchestra, helping everyone sound beautiful while keeping soloists and chorus tightly together throughout.
I had already been thoroughly blown away by her excellent pianism a few months ago in the last Apocryphonia concert, so it was no surprise to see what an excellent conductor she was in her TOT debut.
Our revised story veered between romance and comedy, still thoroughly topsy-turvy in Guillermo’s new Ontario adaptation of the story. I giggled to myself, recalling the Stratford Macbeth with bikers, jeans & leather with nary a kilt in sight, while now the kimonos were gone in favour of, what else, kilts in this incarnation.
The romance between Yum-Yum (Madeline Cooper) and Nanki-Blue (Marcus Tranquilli) was as charming as ever.
I spoke of my expectations. I came with the intention to laugh, grateful for the comic stylings of The Lord High Executioner (Greg Finney), who happens to be a superb singer as well.
Greg met his match in Karen Bojti, playing the unruly contralto who always throws everything into turmoil upon her disruptive arrival, with a big voice, strong presence and perfect comic timing. Whenever Greg or Karen were onstage there was always something funny afoot.
Revised, revisited, we still had the boisterous happy ending.
TOT will be back with
TOT Cabaret: Viva La Zarzuela on November 29th, and later
Kalman’s Czardas Princess December 30, Jan 2, 3 and 4.
barczablog 