(Harrow County School production, 1965)
For the first time, this year the
school produced an opera. The choice, Gilbert & Sullivan's 'The Mikado', proved
to be a very wise one, for Gilbert & Sullivan are popular, and 'The Mikado' is
probably their best-known opera. The production itself more than justified the
support it received, and the audiences must have returned home well pleased.
The back of the programme gives a list of the gentlemen and associations (including the Japanese Embassy) consulted in order that authenticity might be obtained. This is symbolic of the scrupulous care taken over the production, which proved superlative. Though perhaps Gilbert & Sullivan would not have approved of the addition of some humour, including Ko-Ko (played by Nigel Rogers on two of the nights, and David Looser on one) running around the auditorium and singing at the same time, this was so arranged as not to seem incongruous, and was obviously appreciated.
One of the
difficulties of producing a comic opera such as this is that the performers require not
only an ability to sing but also, though to a lesser degree, an ability to act. All
the cast overcame this extra strain, and it seemed to inspire some to even greater things,
notably Laurence Tiger as the more than portly Pooh-Bah, who very graciously took over all
the posts, and salaries, of the major officials of Titipu upon their mass resignation on
the appointment of a mere tailor to Lord high Executioner, and also Roy Parnell as the
fiery Katisha, determined to marry Nanki-Poo. Parnell sustained an excellent
falsetto, both singing and speaking, so that it became impossible to believe that he was
not, in fact, an elderly lady. The various moods of Ko-Ko were most successfully
brought across, and Malcolm Payne portrayed the fierce Mikado as a figure of great
importance but overwhelmed by the domineering Katisha. What seemed most impressive,
however, was the confidence with which three junior members of the school, Gary Findon,
Austin Rowlands and David Powell, played and sang the parts of the three little
maids. Their parts, and also that of Katisha, represented a triumph for the make-up
and costume departments as well, as they really looked like girls, not like boys dressed
up as girls.
At this point it would be appropriate to express our great appreciation of the excellent work of the Wardrobe Mistress, Mrs. Zideman, and the very effective make-up created by Mrs. Eisner. Both these departments had much help and good advice from Mr. Mees. There should be a word of praise, too, for the unflinching guards of the Mikado, who remained poker-faced in spite of great provocation from him. It was good to see small parts being done so well.
An advantage of this production was that it allowed a great number of boys To take part. In addition to the major parts there was an on-stage chorus and an off-stage chorus down in the orchestra pit. The divorcement of the two choruses must have made timing very difficult, but they sang as one. Down in the orchestra pit a select orchestra provided the music, Mr. Waller did invaluable work on the piano and Mr. Haley conducted the proceedings, doing a great deal of work unobserved by the audience. He and Raymond Lohr, who played Nanki-Poo most professionally, succeeded in knitting the production together, Nanki-Poo acting as the center of the plot and the link between the scenes, and Mr. Haley bringing the various groups of singers together.
The whole of the back-stage staff supported the production in what has now become their customary first-rate manner. It must be very heartening for a producer to know that he has the backing of such an efficient body of people. In this instance the producer was a senior boy, Stephen Clyne, and his assistant-producer and stage manager were Stephen Waxman and Robert Locker respectively, for whom the production was a great personal triumph, the set being designed and built entirely by the boys.
So successful was 'The Mikado' that the Music Society hopes next year to produce 'Iolanthe'.
Stephen Adamson, with thanks to David Jacobs.
(Gaytonian 1965)
Photographs supplied by Andrew Findon.