'Hot Mikado' blends cultures in Broadway musical
By Joanne Fox Journal staff writer | Posted: Sunday, April 13, 2008
Aaron Kunz and Carolyn Lohr rehearse a scene from "Hot Mikado," the next production of the Briar Cliff University Theatre Department. (Staff photo by Jim Lee)
East meets West head-on in the next production by the Briar Cliff University Theater Department.
Hot Mikado is a musical comedy, based on Gilbert and Sullivan's "The Mikado," adapted by David H. Bell (book and lyrics) and Rob Bowman (orchestrations and arrangements). After researching the 1939 Broadway musical, "The Hot Mikado," Bell and Bowman created a new adaptation, "Hot Mikado." The original production ran from March 18 to July 27, 1986 at Ford's Theatre in Washington, DC.
With the music adapted into blues, "Cab Calloway swing," resounding gospel, scorching torch songs and the "Three Little Maids" as performed by the Andrew Sisters, this zoot-suited, tap-dancing, colorful show has audience appeal, explained Sam Shanks, director of the production and BC faculty member.
"The show is generally light-hearted," he said. "Though occasionally, biting satire meets swing-era tunes and dancing."
The story revolves around Nanki-Poo (Aaron Kunz), who has banished himself from his father's royal court because he is hopelessly in love with the beautiful young lady, Yum-Yum (Carolyn Lohr), who unfortunately is engaged to her guardian, Ko-Ko (Christopher Kopel).
Upon learning that Ko-Ko has been condemned to death for the crime of flirting, Nanki-Poo comes to Titipu to claim Yum-Yum's hand. After an odd turn of events, it turns out that Ko-Ko has not only been reprieved of his death sentence, but has earned a promotion to the post of Lord High Executioner. Unfortunately, he is not a big fan of killing people. With The Mikado of Japan (Steve Crann) becoming increasingly annoyed at the lack of executions taking place, Ko-Ko makes a deal with Nanki-Poo, not realizing that he's the son of The Mikado. He allows Nanki-Poo to marry Yum-Yum for one month, as long as he is executed after that month. More complications surface until all is resolved in the end by the cast of 16. The action takes place on an Army base in Okinawa in September of 1945, shortly after the end of World War II.
The new arrangements and orchestrations cover a large spectrum of music including swing, jazz, blues, and gospel. Mary Day, professor of music at Briar Cliff, is the musical director of the show. A series of student assistants are helping with different aspects of the production. They include: choreography, Anastasia Martinez; scenic design: Christopher Kopel; lighting design: Nicholas Schoenfelder; and dramaturgy: Daniel Stump. Because it's a period piece, costumes are an integral aspect of this show and Alexis Britson is the costume designer.
But it isn't all about presenting a variety of musical styles. There's a message in this show, said Shanks.
"We poke fun at arbitrary authoritarianism," he said. "We also explore the subtle and often absurd ways that imperfect people react to difficult circumstances."
Shanks added that the reason he liked the show was that the production was a "fascinating cross-roads" of cultural materials.
"We are essentially readapting a 1980s revival of an African-American swing adaptation in 1939 of an English operetta from the 1880s," he said. "It is an odd combination of forces, but a combination that is relatively common, if often unacknowledged, in the American theatre."
Shanks predicted audiences will "laugh out loud and often" for this production.
"And they will leave with a slightly shifted perspective on the often scary ways in which people wield power," he said, "as well as the often unusual ways in which they borrow cultural models from other groups."
"Hot Mikado" runs April 17-18-19 with 7:30 p.m. performances and a 2 p.m. matinee on April 19. Tickets are $10 for adults, $8 for children and senior citizens. For reserved seats, call the box office, 279-5542, from 9 a.m. to 3 p.m.
Hot Mikado is a musical comedy, based on Gilbert and Sullivan's "The Mikado," adapted by David H. Bell (book and lyrics) and Rob Bowman (orchestrations and arrangements). After researching the 1939 Broadway musical, "The Hot Mikado," Bell and Bowman created a new adaptation, "Hot Mikado." The original production ran from March 18 to July 27, 1986 at Ford's Theatre in Washington, DC.
With the music adapted into blues, "Cab Calloway swing," resounding gospel, scorching torch songs and the "Three Little Maids" as performed by the Andrew Sisters, this zoot-suited, tap-dancing, colorful show has audience appeal, explained Sam Shanks, director of the production and BC faculty member.
"The show is generally light-hearted," he said. "Though occasionally, biting satire meets swing-era tunes and dancing."
The story revolves around Nanki-Poo (Aaron Kunz), who has banished himself from his father's royal court because he is hopelessly in love with the beautiful young lady, Yum-Yum (Carolyn Lohr), who unfortunately is engaged to her guardian, Ko-Ko (Christopher Kopel).
Upon learning that Ko-Ko has been condemned to death for the crime of flirting, Nanki-Poo comes to Titipu to claim Yum-Yum's hand. After an odd turn of events, it turns out that Ko-Ko has not only been reprieved of his death sentence, but has earned a promotion to the post of Lord High Executioner. Unfortunately, he is not a big fan of killing people. With The Mikado of Japan (Steve Crann) becoming increasingly annoyed at the lack of executions taking place, Ko-Ko makes a deal with Nanki-Poo, not realizing that he's the son of The Mikado. He allows Nanki-Poo to marry Yum-Yum for one month, as long as he is executed after that month. More complications surface until all is resolved in the end by the cast of 16. The action takes place on an Army base in Okinawa in September of 1945, shortly after the end of World War II.
The new arrangements and orchestrations cover a large spectrum of music including swing, jazz, blues, and gospel. Mary Day, professor of music at Briar Cliff, is the musical director of the show. A series of student assistants are helping with different aspects of the production. They include: choreography, Anastasia Martinez; scenic design: Christopher Kopel; lighting design: Nicholas Schoenfelder; and dramaturgy: Daniel Stump. Because it's a period piece, costumes are an integral aspect of this show and Alexis Britson is the costume designer.
But it isn't all about presenting a variety of musical styles. There's a message in this show, said Shanks.
"We poke fun at arbitrary authoritarianism," he said. "We also explore the subtle and often absurd ways that imperfect people react to difficult circumstances."
Shanks added that the reason he liked the show was that the production was a "fascinating cross-roads" of cultural materials.
"We are essentially readapting a 1980s revival of an African-American swing adaptation in 1939 of an English operetta from the 1880s," he said. "It is an odd combination of forces, but a combination that is relatively common, if often unacknowledged, in the American theatre."
Shanks predicted audiences will "laugh out loud and often" for this production.
"And they will leave with a slightly shifted perspective on the often scary ways in which people wield power," he said, "as well as the often unusual ways in which they borrow cultural models from other groups."
"Hot Mikado" runs April 17-18-19 with 7:30 p.m. performances and a 2 p.m. matinee on April 19. Tickets are $10 for adults, $8 for children and senior citizens. For reserved seats, call the box office, 279-5542, from 9 a.m. to 3 p.m.
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