“Hot Mikado” is jubilant, a joyous triumph.
The ambitious show, the second outing for the fledgling, musical-theater focused Southern Arizona Performing Arts Company, opened Friday, Jan. 17, in the Scoundrel & Scamp Theatre in the Historic Y.
“Hot Mikado” is based on the popular two-act, comic 1885 operetta “The Mikado” by W. S. Gilbert and Arthur Sullivan.
The story and setting remain the same: Flirting is punishable by death in a fictional village in Japan. Nanki-Poo has run away from his father, Japan’s leader — known as the Mikado, because Nanki-Poo would be forced to marry an older woman for unintentional flirtation or have his head chopped off. He is in love with Yum-Yum, but she’s betrothed against her will to the town’s executioner who’s been ordered to execute someone, anyone it seems, within the month.
Satirical lyrics, physical comedy, quick quips and witty, rapid repartee tell the story of over-the-top characters in wacky situations.
Most of the music is generations away from the original opera. “Hot Mikado” is packed with jazz, rock, blues, gospel and boogie-woogie swing of the 1940s that makes the audience tap its toes.
“Hot Mikado” is boisterous, ridiculous, and often staged with a full orchestra and a bazillion-member ensemble. However, that approach wouldn’t work the compact 100-seat Scoundrel & Scamp Theatre. Here’s why the Southern Arizona Performing Arts Company’ production works:
Minimalism: Director Kelli Workman says in her director’s message that the program that she, along with company artistic director Dennis Tamblyn and executive director Danielle Wright, took a minimalist approach to the show. The trio channeled their inner Marie Kondo and pared down the cast to 13 and made the orchestra a six-member band. “I wanted the show clean and strong,” she said in her message.
The staging was minimal, too. Uncluttered — there are very few props. There is no curtain and the stage is framed by Japanese-style “shoji” screen panels — plain, wooden grid frames with white paper in each square.
Most of the stage action takes place at the same level as the first row of the audience, backed by a mid-level riser for additional action and a full riser for the band. The set-up creates the intimacy that Workman said she sought to achieve.
Talent: The company tapped some of Tucson’s young talent and voices you don’t hear often.
Aliyah Douglas who portrays Yum-Yum, the would-be bride, is a sophomore in high school. She projects sweet innocence and has a powerful voice.
The rich voice of Christopher Esguerra as Yum-Yum’s true love Nanki-Poo, the sultry jazz of Jacqueline Stewart as Katisha, and the gospel-inspired vocals of Erin Anderson as Pitti-Sing help make this a bright, bouncy, swaying-in-your-seat show.
Tyler Gastelum as Pooh-Bah, who seems to have every political position in town, and Tyler Wright as executioner Ko-Ko ooze sleaze, but in a good way. Jacob Walters as Pish-Tush makes catching the blade of a sword and picking up torn paper funny. Very funny.
The band: Pianist Brice Kimble, a University of Arizona junior, leads the band that is literally the backdrop of the show. No need for a full orchestra when you have Kimble, Paul Scott (reeds), Kenneth Lopez (trumpet), Chris Porteous (trombone), Gareth Montanarello (bass) and Porter Ellerman (percussion), who quickly and effectively switch between the various strains and styles.
Dancing: Eleven people swinging, swaying, jumping and jiving on a small stage at one time? No problem. Workman, who is also the show’s choreographer, has the actors precisely timed and moving in unison. Matthew Holter shows his oh-wow, tap-dancing chops as the Mikado.
There were a few sound glitches — a few moments of static, mics that drop out and some muffling.
The “Hot Mikado” cast members give the high-energy production their hearts and appear to be having fun, which translates into an enjoyable, laugh-out-loud theater experience that brings joy.
