This past week across the pond the Cambridge Union Society hosted a celebrity debate about whether or not classical music is still relevant, the Fort Worth Opera took up the “Yes” side of the argument and answered it on the stage of Bass Hall Saturday night. From the opening, director, John de los Santos used the modern clothing and sets to get the audience chuckling, and the fun never stopped. For opening night there are always interesting theories for what sorts of operas companies should start with. Darren Woods and the Fort Worth Opera company put forward quite the argument that you start by giving people the most fun you could have at an opera. After last year’s incredibly fun presentation of Elixir of Love (which I saw multiple times), I didn’t think there would be anything to top it, butThe Mikado blows it out of the water.
While many Gilbert and Sullivan “purists” might be upset by the production, costuming, and setting, the rest of the world got to sit back and watch The Mikado brought home. The Mikado was written to satirize British politics, and part of the “gag” is seeing people be incredibly “British” in traditional (and stereotypical) Japanese garb, but let’s face it, this is Fort Worth. So the Fort Worth Opera company stayed true to the real spirit and intention of The Mikado by making the humor not only make sense in modern times, but also make sense in Fort Wort, Texas.
In typical fashion, de los Santos adapted the lyrics of “Mi-ya Sa-ma,” “A More Humane Mikado,” and The List Song, and every single one of the adaptions hit home with the audience. The List Song particularly hit home, and the company even took some mild political risks by poking fun at oil tycoons (this is Texas you know) and high gas prices, “birthers,” and even “The Donald.” With pandering towards the patrons and a well-delivered line about General Director, Darren Woods, Ko-Ko (performed by Lane Johnson) brought home the fact that for the audience to have fun, the performers and directors need to have some fun as well. And if references to oil tycoons weren’t enough for the locals, a reference to Billy Bob’s should have put it over the top. It could be one of the longer performances of The List Song as the audience kept interrupting with guffaws and applause; a great problem to have.
For as much as the music and costuming were focal pieces, we can’t do a full review on the production without mentioning the set and lighting. Richard Kagey, Chad R. Jung, and the FWO company have a lot to be proud of as they brought a set that could stand on its own as a reason to see the show. The Versa®TUBE light system (provided by Gemini Stage Lighting in Dallas) was engaging and exciting. It also kept you completely tuned into the fact that this was supposed to be “modern” Japan, even when Katisha (performed by Meaghan Deiter) came out in her geisha-style dress. The use of large panels also helped to add a striking element to the production. I would be remiss to not mention the extremely fun decision to have the stage hands dressed as ninjas. It added wonderfully to the purposeful, light-hearted, humorous atmosphere of the evening.
Lane Johnson was a great Ko-Ko and Logan Rucker held his own in the role of Nanki-Poo and Jessica Cates (Yum-Yum) showed brief signs of brilliance with some wonderfully performed high-flourishes. But in the first act, it was Jesse Enderle as the Poo-Bah who really stole the show. His voice carried well over the orchestra, even through some of the incredibly difficult choreography, and his acting was absolutely perfect for the role. The second act belonged to The Mikado and Katisha. From their entrance on Segways during “A more humane Mikado” (which included great lines about the TRE, jabs at Senator Kay Bailey Hutchinson, and a nice line for patrons that only come to hear “endless chopin”), these two showed that they were of a different class. Katisha’s aria “Alone, yet alive! - Hearts do not break” was the musical highlight of the night.
The best way to describe opening night is as an incredibly enjoyable, fun, experience. The modernizations worked extremely well to drive home the humor and the contemporary political touches sent it over the top. The packed Bass Hall erupted with both applause and laughter throughout the evening. If there was a doubt that opera is still relevant and fun, it was dispelled on Saturday night by the Fort Worth Opera company. From the lights, to the stage-hands, to the wonderfully conducted (Joe Illick) orchestra, everything contributed to a grand performance the entire company and city can be proud of.
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