IAN ELLIS and "THE MIKADO"

[Ian Ellis, who now lives in the States, spun back for a brief visit to England in December, and so I dug out the report I wrote of that production back in 1969. It was at the party after that show that I first met Ian, and then began a remarkable friendship;- (Exeter University at the Northcott Theatre)].

A brilliantly thought-out production freed from the idle trammels of tradition and time-worn D'Oyly Carte gags. For once the wit of Gilbert was allowed to speak for itself without being swamped by tedious and ill-advised comic business, and the characters were allowed to appear as real people and not as cardboard caricatures. This was one of the finest productions of G & S I have seen, showing what a brilliant piece Mikado is once the cobwebs have been swept away. It is a performance I shall always remember. The overture started a little stodgily, but it livened up in no time: the unusual technique of having the orchestra backstage was excellent from the point of view of balance of volume, but there were some difficult moments in regard to timing, as the singers couldn't see the conductor. The Mikado: A very competent performer, even though at times a little stiff and self-conscious, with the result that some lines were overplayed and others not given sufficient emphasis. A bit more "style" would have helped. Nanki-Poo: Not ideally cast, but he managed very well except that he sometimes sang flat. He did not sound like a tenor, and I gather he wasn't - so he deserves credit for a difficult task. Ko-Ko [IAN ELLIS] It is impossible to speak too highly of this performer. Though far from being a perfect performance (there is no such thing) it was without doubt the finest Ko-Ko I have ever seen (at the time of writing). For once Ko-Ko was allowed to be a real person and not played as though his name was spelled Coco. From the first entrance the whole conception of the part and the way it was put into effect was a joy. This loveable little man won our sympathy at once, and we were on his side throughout the ups and downs of his little career, laughed with him (not at him) and at appropriate moments wept with him also. There were moments when the performance rose (even if only briefly) to the highest possible level of amateur acting. I shall never forget the way he sang "Tit Willow" from the top of the rostrum while Katisha sat on the bottom step; absolutely dead pan, but between each verse peeping slyly over and rubbing his hands together with a twinkle of delight in his eye as he saw the effect he was having on her. He should guard against a strong tendency to over-act and occasionally to shout but more experience will cure this. There is a very fine actor here in embryo. Pooh-Bah: Very good indeed, in spite of obvious difficulties with diction (he was European) and a singularly ill-fitting wig. He played the part with great unction, and the timing of some of his lines was splendid. Pish-Tush: Although he seemed nervous, this was a beautiful character, haughty and yet alive. This part is so often underplayed that it is a relief to find somebody who makes something of it. Yum-Yum: Not ideal vocally, she had a curious steely tone in her voice, but she showed incredible ingenuity in surmounting this handicap and her exuberant acting more than made up for any vocal defects. It was a performance that one warmed to as the evening wore on. Katisha: Another truly dazzling performance, with a sense of style and almost balletic feeling for movement which is very rare, and in her scenes with Ko-Ko they acted together excellently. In the Act I finale she seemed a bit underpowered in the catty bits - there was not quite enough rage and “bite”, but her Act 2 appearances were first rate, and she has a beautiful voice too. I left with a feeling of elation wishing I could see it all again. The scenery was very fitting for the type of production - a bare stage with two beautiful dragon panels framing the proscenium, and a three tiered rostrum centre-back, which had a gong in Act 1 & a throne for the Mikado in Act 2. A particularly brilliant stroke was the sounding of the gong at the beginning creating the illusion of a picture coming to life as in a fairytale.

POSTSCRIPTUM. Sadly that -was the last occasion on which Ian Ellis has (to date) appeared on any stage. Some day, perhaps, if Life is very kind to me, I may see him act again. The performance was taped, but neither Ian nor I know where the tape went, or if it still exists. MICHAEL WALTERS

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