No 41 -- Spring 1994 Edited by Michael Walters
The Edinburgh G&S Society's MIKADO was quite different from that of the Glasgow Orpheus Club. The sets were pleasing to the eye, with unusual use being made of a mini pavilion stage right, during the second half, in which Katisha and the Mikado sat, and, beforehand, entrances and exists were made. A long flight of steps made the Mikado's entrance most impressive, as did the outstandingly ornate costumes, especially for Pooh-Bah and the Mikado. Ko-Ko (Maxwell Smart) was attired more traditionally but with very baggy horizontally-striped trousers. The fun in "Here's a how-de-do" centred mainly around forms of propulsion across the stage, and included an orange bouncing ball and a skateboard. This was interesting to watch, but not very funny. The three little maids trio was like a breath of fresh air, as the girls playing Yum-Yum (Fione Scrimger), Pitti-Sing (Christine Leslie) and Peep-Bo (Hazel Clarke) infused a youthful glee into the song. Another small innovation was that some of the men's chorus joined in the final verse reprise which, when performed, did not seem inappropriate.
Heather Boyd's Katisha presented a more rotund and younger character than I have experienced for some time, and she has a very powerful contralto voice for her apparent youthfulness. Pooh-Bah was played by James Dinsmore who, in previous years, has performed for Glasgow's Savoy Club as, inter alia, Sir Joseph Porter and I felt that, for Pooh-Bah, he infused rather too much of the sneering of Sir Joseph. Mr. Dinsmore is a very tall gentleman and towered over all others on stage. I felt that there was considerably less rapport between Ko-Ko and Pooh-Bah than I have enjoyed in other productions. Colin Fleming's youthful Nanki-Poo was enjoyable, if not memorable, as was George McHollan (Pish-Tush) and Andrew Green (Go-To). Producer Alan Borthwick had rehearsed his chorus rigorously and their fanwork was performed with precision, if little individuality. MD David Lyle somehow missed the mark in the overture, which lacked flair and lightness because of slow tempi. In all, this very youthful company has a lot of raw talent, which, when groomed by Alan Borthwick, should mature into an excellent company. I look forward to their production of UTOPIA LTD next year with anticipation.
LINDA WOOD
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