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Coral Andrews Chronicle Special Here's a how-de-do. This year's production of Gilbert and Sullivan's The Mikado, eo-directed by John Kerr and Alex Mustakas, was terrific, from the cleverly modernized libretto dealing with every controversial news item today to male chauvinists. Those in the amused UW Humanities Theatre audience couldn't miss this delightfully unexpected pratter, as Ko-Ko (Bruce Bricknell) rambled on in the famed Here's A How-De-Do. Another surprise. two scantily clad Sumo wrestlers, a ribald theatrical folly courtesy of co-director Mustakas. Wry lyrics, insightful choreography, and inventive characterization added to this Gilbert and Sullivan standard plotline, concerning Nanki-Poo, son of the Mikado, who runs away from his court, disguised as a 'J,',?,',"","' "a second trombone," to find lost love Yum- Yum. But is all G and S plots would usually have it, connict is abundant, and Yum-Yum is alas destined to marry Ko-Ko, a good-hearted tailor also recently elected Lord High Executioner by the Mikado's declaration. Learning of Yum-Yum's plight, Nanki-Poo resolves to commit suicide, but Ko-Ko who has to execute someone once a month, makes a deal with Nanki-Poo. Nanki-Poo can marry Yum-Yum for a month, and then be beheaded, while Ko-Ko will then marry Yum-Yum himself. Inventive Mikado a true delight iiiitGiitisha, the lady -trom whom Nanki-Poo has When the enraged jilted lover discovers Nanki-Poo's Pleasing performances But there was never a moment of trepidation among The Mikado's top-notch not. - _ -.__ . - .. nuptials she seeks the Mikado's counsel, as the Midako plans a little social visit and the town of Titipu is thrown into trepidation. _ - _ .. . Bruce Bricknell as Ko-Ko Lord High Executioner of Titipu sparkled, his adept movement and lovable character a Mikado plus, especially when two Sumo fighters hoisted him and kimono off the ground in a highly surprising second-act scenario. "irri'iGa'i%iriiusiitg witticisms and bright delivery made KtrKo an audience favorite, as he sang the simple but sweet signature sqng w)llotrit-)v.illo.w.. . Paul Nowak (after his triumphant lead in last year's Patience) returned this year as Pooh-Bah, another memorable character from Nowak, a solid humor portrait, and good reason why Nowak continues to be one of the area's finest comic talents. "raid: Wayne Berwick and soprano Alison Watson were teamed once again, for a spirited yet comfortable result, in ensemble and duet situation, . Watson's feature solo, 'The sun, whose rays are all ablaze.‘ demonstrated the Toronto faculty of music student's dazzling range and rapt enunciation, in her sixth leading lady G and S role. But thronigh Au the kimonos, fans and magestic Oriental finery, stood a fiery red and black satin figure waiting to vent operatic ire. Deborah Millar as Katisha did splendidly, both camp and classical in effect. Millar (WLU's Street Scene, Tale of Two Cities) will be remembered for her marvellous chase scenes with G and S cohort Paul Nowak, in 1985’s Centennial public echooi pre- eented Ira Levin's Drat the Cat at the echooi last week. In top photo, Chrle Andrew fires his pistol to tell party 90ers not to be afraid as the Cat, Mamie Genter finds a hiding place for the gem she he: just etolen. In Bottom photo Jenna Schiedel turod In a second-act musical number when the Van Guilder: blame each other for the failed upbringing of their child. COOL CATS ftrrACo_grhet0oa Patience. It was Millar's timely debut. As Katisha in Mikado, Miller was a Showstopper. with husky delivery, yet possessing a dramatic and vulnertr ble essence, yearning to be the Mikado's daughter-in-law elect, in her insatiable lust for lfanlri-P?o. -A%aGigiiiiiiiiGtiired Miilar's aria Alone and Yet Alive, as she discovers Nanki-Poo's marriage to Yum-Yum and the fact he is supposedly 'dead'. _ _ _ Millar created a moving, serious moment with her tender interpretation sandwiched within a storyline filled with friyolity and the usual farcical operatic norm. with Millar an unorthodox pleasure. Mi-ya-sa-ma, I'm so proud, and Brightly dawns our wedding day, were additional Operetta highlights displaying the talents of Jason Parkhill Wish-rush) and the stage's own Jennifer Toews, as Pitti-Sing, with her usual hilarious facial reactions and capable vocal quali- ty. V (Toews is going to Charlottetown for Anne of Green Gables this season, and it's no wonder why.) - A _ _ - "iie-vin Dalton Wis another strong portrayal with his regal role of The Mikado and a cackle that made Mozart's mild in comparison. With the co-directing team of Kerr and Mustakas, and long-time G and S producer Brant Smith, choreographer Cindi ijas was just the artistic icing on the cake. The production moved swiftly and skillfully with some interesting wrist movements as the entire cast cracked their paper fans on humor cue. - These. and other little attentions to Oriental detail made this year's outstanding production of The Mikado, a real-how-de-do. IIg1g-lr-lr-llMl ll Pa I m e r Coral Andrews Chronicle Special "The threat of nuclear war has given Santa Claus a drinking problem," bellowed Mental As Anything's lead singer/keyboard player Greedy Smith who looks like a blond new-age version of television's Andy Griffith. The five-man Aussie band was the energetic opening act for Robert Palmer who played re- cently to a rather dead audience at Centre in the Square. But Mental was determined to liven them up! Mental As Anything is a politi- cal band with a biting wit who sings about the issues, yet par- tiesup a storm in the process. As Australia's number one hand, the boys are used to playing the Australian pub cir- cult. where eager people join them on stage, often severely im toxicated. "We usually throw 'em off pronto, except the aborigine types. They're a bloody huge load to lift," quipped drummer Wayne Delisle. in an out-the- stage-door backstage rap. lacks audience rapport Mental As Anything was as different as anything from the headlining act. Robert Palmer emerged through a barrage of dry ice, outfitted in I grey sharkskin double-breasted suit. with a tie that he never loo, Palmer who has been exposed to a rich fabric of melody since childhood, especially Motown, reggae, ska, and the New Or leans/New York rock sound, has utilized this knowledge through- out his career, from early bands DI Da and Vinegar Joe. to his current lineup which resembles a United Nations rhythm and her monies. (Continued on 0098 22)