There are some who like it cool and those who like it hot. PCPA’s take on Gilbert and Sullivan’s The Mikado is for the latter. It’s definitely hot.
A love story at its heart, Hot Mikado balances the American swing-era style and attitude atop a Japanese setting to tell a story laced with political jabs and satire.
The play explores the absurd side of politics, satirizing government regulations and the politicians who enforce them. Director Valerie Rachelle points out that there’s really nothing British or Japanese about the show, described as a fusion of Sino-British humor with hep-cat cheek. In other words, Rachelle plays up stereotypes and makes no apologies for doing so.
The result is an absolutely hilarious comedy that’s pure fun.
The story centers on a young musician in the town of Titi-Pu, Nanki-Poo, played by Michael Jenkinson (Godspell, Ragtime), who’s looking for Yum Yum, his true love. Yum Yum is set to marry, against her wishes, her guardian and now Lord High Executioner, Ko-Ko, played by Brad Carroll (H.M.S. Pinafore, Hay Fever).
That’s when things get really complicated. The heartbroken Nanki-Poo can’t even commit suicide over his broken heart because it’s against the laws set by The Mikado (Billy Breed).
As if that wasn’t enough, Nanki-Poo also has trouble in the form of an aggressive woman who has set her sights on him. Katisha accuses Nanki-Poo of flirting and demands that he marry her.
Like the storyline, the characters are simply outrageous.
The Japanese-inspired set looks like something from a little girl’s imagination, blazoned with bright colors and oversized flowers. The costume design by Frederick P. Deeben is a mix of swing style and Japanese silk screening, with plenty of zoot-suited characters.
The ensemble numbers are an energetic mix of gospel, jazz, and swing, with just the right amount of sass. In one number, Three Little Maids is sung in the style of the Andrews Sisters.
Though the musical feels like it starts out a little slow—perhaps out of the necessity to lay out the plot—it quickly picks up.
As Pooh Bah, Corey Jones (Othello, Life X 3) proves that he’s not just talented at playing the dramatic. He’s downright funny as Titi-Pu’s zoot suit-wearing, bribe-taking, jive-talking treasurer, coroner, and secretary—among other titles.
Though the production is mostly a fun romp through the absurdities of Titi-Pu law, it’s also punctuated by especially tender moments from Yum Yum and Katisha. As Yum Yum, Kiera O’Neil humorously acknowledges her beauty and wonders how she can be so much more beautiful than anyone else. Then she belts out a comparison of her character to the sun and moon: “I wish to rule the Earth as he the sky. We really know our worth, the sun and I,” she sings.
Later, the much feared Katisha reflects on her own situation and the pain of her unrequited love for Nanki-Poo in a touching performance of Alone and Yet Alive. Performed by Julianne Jaffe, Katisha comes to life as Jaffe lends a soulful and rich voice to the character.
Bree Murphy, as Pitti Sing, proves that Katisha is not the only one with chops in this play, by answering Katisha with a soulful but sassy turn.
Michael Jenkinson, Brad Carroll, Jeff Deards, Jr. (as Pish Tush), and Christine Nelson (as Peep Bo) are wonderfully entertaining in their roles, but it’s Jaffe’s Katisha and, of course, The Mikado—two larger than life characters—who steal the show.
In a white coat and tails, Breed gives The Mikado a personality that’s a cross between Cab Calloway and Col. Sanders. The much-feared ruler of Titi-Pu enters with an “I’m here—ow! Chill out, baby,” and a tap dance number.
His character is an over-the-top, all-out funny guy, who borders on the crazy. You wonder if the laws he set in Titi-Pu are the edict of a ruthless dictator or an insane megalomaniac. Which is precisely the point.
The original Gilbert and Sullivan story opened at the Savoy Theatre in London on March 14, 1885. The two-act play was set in an exotic land, bearing little resemblance to anything from Japan. The setting allowed its creators to satirize current British politics and traditional institutions.
The most contemporary version premiered at Ford’s Theatre in Washington, D.C., in 1986 and was based on two African-American versions of The Mikado, which ran on Broadway in 1939. PCPA’s version is based on the David H. Bell adaptation, in which the village of Titi-Pu becomes a swing-era hot nightspot.
PCPA director Rachelle calls Hot Mikado “super cool and piping hot.”
“This version of The Mikado reminds me of a USO show done on top of a traditional Japanese tea setting,” she said. “The surrounds are formal, but the tea is spiked with cayenne pepper.”
Even for those who think they can’t take the heat, Hot Mikado is just right.
INFOBOX: Catch it while it’s hot
The Hot Mikado plays in the Marian Theatre through Sept. 7, then moves to the Festival Theater in Solvang from Sept. 12 through 28. For more information, call 922-8313.
Arts Editor Shelly Cone prefers spice. Contact her at scone@santamariasun.com.
This article appears in Sep 4-11, 2008.