Opera--Review

Why beat around the bush? This Mikado was a unadulterated delight.  The UL Opera Theater's production of Gilbert and Sullivan's The Mikado ended an all-too-short weekend run last Saturday, and for those who missed the show, here's an admonition: you missed one of the best shows Acadiana has seen in a long while.


This classically goofy operetta from the G&S canon is chock full of gooey romantic ballads, silly plot tangles, some broad characterizations, and a topsy-turvy plot that takes almost two and a half hours to finally unwind itself. The show requires some great singing, of course -- it's operetta -- but it also requires some deft comic acting as well. It's a challenging piece to sell to a modern audience weaned on romantic comedy a la the antics on "Jersey Shore." 


But what a joy this Mikado was.

Under the direction of Shawn Roy -- and aided in big ways by Kenneth Jenkins' choreography and Duncan Thistlethwaite's set -- this "Mikado" was a spirited and often laugh-out-loud funny rendering of the 19th century piece. The show never pandered as it reached for the laugh (well almost never pandered -- a second act lyric change that riffed on UL professors seemed a little heavy-handed), but song after song the production scored some terrific comic moments and even a few touching ones.

The show's beating heart was the pair of lovers, Nanki Poo and Yum Yum. As Nanki Poo, Holden Greene was a big-voiced romantic lead and acquitted himself well. (I look forward to seeing Greene develop a bit more confidence as an actor; the book scenes seemed to chip his confidence away a little.) And as Yum Yum, Jenee Luquette (the Yum Yum at the performance I saw) was sweet-voiced and lovely. The two made much with their straightforward romantic material, and gave the show a sturdy foundation.

The bigger impressions performance-wise were made by a trio around the lovers. As Pooh Bah, Miguel Ochoa was a slinking, slithering delight. As Pitti Sing, Alex Hollerman displayed the same comic chops that made
her so memorable in Too Many Sopranos and I was impressed with what a big impression she made in a smaller role. And Lindsay Leblanc as Katisha was a whole lot of brassy-voiced fun.

But I went away singing the praises of Jonah Slason, who essayed the role of Ko Ko, the reluctant executioner. Slason's performance was a blazing comic delight -- physically committed, beautifully-timed and simply funny. This kid's got that ineffable "it," and I cannot wait to see him in something new.

When a show works this well, it's easy to credit the performers with carrying the weight of that success. But I have to give the biggest kudos to the show's production team. Roy proves again and again that he's the area's best director for the stage: his shows are smart, kinetic, fun and impeccably staged. Kenneth Jenkins reminded me just how clever and funny movement can be when done with an expert hand. And the pared-down elegance of Duncan Thistlethwaite's set was a perfect complement for the pageantry of the show. And the Mikado's entrance was a clever piece of staging that showed off all three men's skill and flair for the theatrical.

How good was this show? I'm still thinking about it -- the moments I loved, the little bits of staging that made me smile, the subtle scenic changes that made huge impacts, the songs, the jokes, the energy coming off the stage.

That doesn't happen very often. This show was a delight. And next time UL Lafayette Opera Theater mounts a show, make sure you do whatever you can to see it.
--- CODY DAIGLE


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