Theatre Review: The Mike A Do
A Gilbert and Sullivan Society Production
Directed by Matthew Colquhoun
Produced by Sarah Millar
Written by Gilbert & Sullivan (adapted by Jamie Cizej)
Reviewed by Iain Lynn
Hidden birthrights, threatened executions, and partner swapping – no I’m not describing my weekend, instead it’s the frenetic plot of the Mike A Do, the Gilbert and Sullivan Society’s latest production. The Mike A Do, as the name suggests, is an adaptation of the Mikado, masterfully transported from the (horrendously offensive) Japan of Gilbert and Sullivan, to the mean streets of St. Andrews. This shift was enormously successful, with the original satire poking fun at the ever pompous elite who only seem to get more and more titles, the show was in danger of feeling like a documentary. This is thanks to the work of Jamie Cizej, who adapted the original text.
The quality of an operetti lives and dies with its vocal quality, and special commendation has to be given to the vocal director (Kylie Lam), the Mike A Do is very much alive. Special mention has to be given to the “three little maids”, Anna (Lucy Hindle), Gwendolyn (Elle Hale), and, absolute vocal star of the show, Blossom (Selma Bystrand-Straumits as Blossom). The farce of Mike A Do was pulled along by the brilliant comic powers of CoCo (Sam Morrison) and Vincent (Adam Mercer). My highlight has to be the finale of act 1, a brilliant song-as-argument between Katherine (Aliza Myers) and the rest of the cast.
Although the cast was wonderful, there was one aspect that is definitely in need of improvement. That is, the tech and the sleekness of the show. There were moments mics were off, then on, then off again, and spotlights lagging behind their subject – all while there were clear beats between the actor and the orchestra starting up. All of this can be fixed with more rehearsal, or with more tech rehearsals, and it is a shame that what is obviously a project with so many earnest and enthusiastic people involved had to fight, at points, with itself.
The Mike A Do was, faults and all, a perfect satire of St. Andrews, maybe capital punishment aside. From the script, to the not so perfect execution, it was a breath of fresh air to see a show that was so clear in its skewering of our town, especially one that was filled with such vocal talent.
