KIRO’s Dave Ross Returns to Seattle Gilbert and Sullivan
For the 60th Anniversary of the founding of the Seattle Gilbert and Sullivan Society, they chose to produce the most popular of all the fourteen G & S productions-The Mikado. Librettist W.S. Gilbert’s inspiration for placing one of his satires of British social and political life in Japan supposedly came to him when an ornamental Japanese sword fell down from the wall of his study. However, trade between Europe and Japan had only recently started and there was a craze for anything Japanese
Whether true or not, The Mikado involves both Japan and not only a sword but a planned execution by the Lord High Executioner, Ko-Ko played exquisitely by Seattle G & S veteran Dave Ross. There is the usual case of mistaken identity involving a change in social status, various lover’s intrigues, endless spoofs on hypocrisy, plot twists and witty lyrics and patter songs. Musically, it is considered the best of all the G & S operettas and contains a the famous song, Mi-ya-Sa-ma, sung in Japanese, adapted by Sir Arthur Sullivan, the composer, from a Japanese tune, which is to die for. ( Hint: no one actually does!)
Gilbert and Sullivan productions are rarely produced in professional theatres and very often in church basements without very high production values. Seattle G & S Society’s production are not exactly church basement style -they rent the Bagley Wright Theatre, have a full orchestra, a spectacular set, reasonable costumes, glossy programs, lots of donations and publicity, but they neglect the most important aspect of Gilbert and Sullivan.
Unlike a lot of musicals, the lyrics are very intricate, witty and can be difficult to understand if the singers/actors do not have impeccable diction. Although Dave Ross always manages to deliver the goods, in every Seattle G & S production the British dialect and the diction of the some actors and especially the choruses are generally not of the same standard as the production values.
If you have a non-professional cast singing in a church basement, the audience is close enough so that they will be able to understand, but if you rent the Bagley Wright, you need either professional singers or a professional coach to help the actors/singers with the British accent and/or a speech coach who can help the actors and singers with their diction. At $40 a ticket the audience deserves to be able to understand the patter songs.
Dave Ross not only contributed a brilliant performance but also re-wrote some of the lyrics of the patter songs. N.B. Gilbert wrote a lot of contemporary political satire in the patter songs, hence, there is a tradition to update and localize the political commentary. Since Ross is also a popular radio celebrity and former candidate for U.S. Congress the audience was totally enthralled.
Craig Cantley, as Pooh-Bah, the Lord High Everything Else-the satirical character meant to represent the privileged aristocracy oflate 19th Century Britain, was impressively fey, amusing and understandable. John Brooks, as the Mikado, looked the part but was not always clear and many of his lines fell flat. Jenna Moffat as Yum-Yum, was a delightful coquette in true G & S style and her aria The Sun Whose Rays showed off her virtuoso talent.
Save for the mushy diction, this was a enjoyable production.
The Mikado. Seattle Gilbert and Sullivan Society, Bagley Wright Theatre at Seattle Center. 305 Harrison St. Seattle 98109. Fri. Sat. at 7:30 pm thru July 26th. Sun Matinee July 20th. Tickets: https://www.pattersong.org/tickets?qt-tickets=1#qt-tickets