Rose Valley Chorus and Orchestra Celebrates 100 years with The Mikado

Theater: Rose Valley Chorus and Orchestra

Show Title: The Mikado

Opened: November 2, 2007

Seen: November 2, 2007

Reviewer: Ryan Bunch

Submitted: November 3, 2007

Rose Valley Chorus was started by group of artists and artisans who initially got together around a vision of starting a utopian community in the deserted textile mill town of Rose Valley. A century ago they chose The Mikado as their first production for a new theater company. In those days, modest accompaniment was provided by a piano, and admission was fifty cents.

 

Today RVCO is an established community theater specializing in operetta and musical theater repertoire, performing with a 30-some-odd-piece orchestra and an impressive mix of amateur, professional and semi-professional theater artists. A glance at the program gives some indication of the diverse blend of talents and enthusiasm that go into the work of this company. People who are on stage in The Mikado this year have played in the orchestra for other shows and assisted with design elements in still others. Not that such breadth of involvement and dedication is unusual in theater at this level, but it is the uniformity of quality with which these volunteers wear their different hats that impresses.

 

These talents are put to good use in staging one of the most popular works in the Gilbert and Sullivan canon. The Mikado is the story of Nanki-Poo, the son of the Mikado of Japan, who arrives in the town of Titipu disguised as a “wandering minstrel.” He is fleeing from the court of his father, where he is supposed to be marrying the unattractive Katisha. He falls in love instead with the local girl Yum-Yum, who in turn is engaged to marry her guardian Ko-Ko, who is also the Lord High Executioner. Ko-Ko is under pressure from the Mikado to carry out some executions, and he sees an opportunity in Nanki-Poo who has committed the capital crime of flirting. Nanki-Poo makes a deal with Ko-Ko to be allowed to marry Yum-Yum for a month, after which he will be beheaded and Ko-Ko will marry his widowed ward. This arrangement sets the stage for ensuing shenanigans and general hilarity.

 

Set within a nineteenth century Englishman’s exotic vision of Japan, The Mikado allows director Robin Greene and the design team to get creative with moving screens, twirling fans and flowing garments. Large panels dominate the set design by Cynthia du Pont Tobias. Attractively painted and inspired by Japanese art, they glide across the stage creating transitions and surprise entrances. Their dramatic use at both the beginning and end of act one makes a nice bookend effect. The vivid costumes by Janice Manley and fantastical makeup by Robert Moore and Bonnie Decktor are nicely complemented by the use of color in the lighting design. The orchestra, under music director Carol Freed, hands in a polished and effective performance, supporting the actors on stage and never overpowering or distracting.

 

The great strength of the production, though, is the performers in the principle roles. Stephanie Rose as Yum-Yum has a singing voice that is both rich and agile, and which outshines all the others in the cast (and most of them are very strong singers to begin with). The sumptuousness of her tone in “The Sun, Whose Rays Are All Ablaze” made me wish Yum-Yum had more solos. In her comic scenes, she uses just the right amount of broad acting for the role. Ross Druker, who plays Nanki-Poo with wistful reserve, is well matched with Rose, having a richly lyrical voice equal to hers. The duets between them are among the musical highlights of the show.

 

Other standouts include Ray Murphy and Samuel Griffin as Ko-Ko and Pooh-Bah, both disarming comedic actors and first rate singers. Griffin is especially sharp in timing and mannerism as the corrupt and pompous government omni-official, and he has little bit of a gravelly quality in his singing voice which adds to the characterization. Murphy is delightfully spry as the Lord High Executioner with a bounce in his step and a soft spot in his heart. Either one of them carries a great deal of the energy on stage in any scene in which he appears. Together they are the comedic anchor of the show. Wayne Punshon as Pish-Tush also maintains good chemistry with these two, completing a trio of characters who provide much of the operetta’s satirical banter. Jennifer Cole and Mike Dutka as Katisha and the Mikado fill their respective roles well, she with matronly intensity and he with roguish pomposity and largeness of persona. Also worth mentioning are Mary Punshon and Sharon Sigal as Pitti-Sing and Peep-Bo, Yum-Yum’s maiden companions, both of whom posses good voices and sprightly energy. Many of the best moments in the show occur when these strong principles sing together in small ensembles, as in the madrigal “Brightly Dawns Our Wedding Day.”

 

Against individuals with such stage presence, the chorus frequently struggles to measure up. Even when the full chorus is on stage, they fail to match the principles for volume and have difficulty maintaining a certain level of engagement with what is going on around them onstage. It is lucky that the brass section of the orchestra is there to help out when it is necessary to drown out Katisha’s attempt to reveal Nanki-Poo’s identity at the end of act one.

 

Don’t let this small blemish deter you, though. This production is thoroughly enjoyable, not only for the infallible text and excellent performances, but for the social satire as well. As an added bonus, listen for topical references in a couple of songs in which it is traditional to rewrite the lyrics to allude to contemporary society and current politics. Whether in the old material or the new, you’re sure to recognize some characters you’ve met before.

 

The Mikado runs through November 10 at Garnet Valley Middle School, 601 Smithbridge Road, Glen Mills, PA. For tickets call 610-565-5010 or visit www.rvco.org.

 

Ryan Bunch is a vocal instructor, writer and composer specializing in musical theater and theater for young audiences. He has provided voice training, musical direction, songwriting, script development and educational services for the Opera Company of Philadelphia, Mainstage Center for the Arts, Center Stage Productions, Chichester School District, West Chester Summer Stage, Renaissance Artist Puppet Company, and the Players Board of Chestnut Hill Academy and Springside School. For additional information visit www.ryanbunch.com.