Gilbert & Sullivan's
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Production Staff
Producer - Denise Young
Assistant Music Director - Jenny Craley Bland Stage Manager - Tynika Booth Choreographer - Allison Otto Set Designer - Jacy D’Aiutolo Costume Designer - Denise Young Lighting Designer - Jonathan Zucker Make-Up & Hair Designer - Renee Silverstone Make-Up Assistants - Alice Drew, Katie Pedneau Audition Pianist - Jenny Craley Bland Rehearsal Pianists - Jenny Craley Bland, Addie Edelson, Judy Gardner, Debbie Grossman Master Carpenter - Rebecca A. Meyerson Scenic Artist - Rebecca Meushaw Carpenters - Tony Dwyer, William Kolodrubetz, Blair Eig, Gary Sullivan, Dave Kaysen Props - Carlton & Jane Maryott Photography - Harvey Levine Program - Denise Young Surtitles & Presentation - Douglas Maryott Cover & Poster Art - Erika White Abrams Publicity - Ed Vilade House Management - Merle Haber Set Storage - Rockville Civic Center |
Director's Note
Many stories have been told and retold about the events leading up to the creation of The Mikado. Whether all of these stories are true or not, Gilbert and Sullivan’s famous feud (or one of them, at any rate) ultimately culminated in perhaps the best-loved, and certainly the most popular of the Savoy operas. The Mikado opened on March 14, 1885 and ran for 672 performances in its initial run- more than any other Savoy opera.
Certainly, the initial success of The Mikado can be attributed in part to the popularity in 1885 London of all things “Japanese”. However, the play itself is not about Japan in any real sense. While the play is certainly set in “Japan”, Gilbert’s pen was, as always, aimed squarely at Victorian society and the English government. And while his initial targets are separated from us by three thousand miles and more than a hundred years, we can easily see their counterparts in modern life. Perhaps this reflects a disappointing lack of progress in society, but in this case, society’s loss is comedy’s gain.
The applicability of Gilbert’s humor across the world and across time has something to do with the continued popularity of The Mikado. But beyond that, The Mikado offers perhaps Gilbert’s most realistic, immediately accessible and human story. It is that story you will see- Gilbert’s tale, as it was in 1885, told again. We hope we have captured Gilbert’s humor and his story for you tonight.
Enjoy the show.
Certainly, the initial success of The Mikado can be attributed in part to the popularity in 1885 London of all things “Japanese”. However, the play itself is not about Japan in any real sense. While the play is certainly set in “Japan”, Gilbert’s pen was, as always, aimed squarely at Victorian society and the English government. And while his initial targets are separated from us by three thousand miles and more than a hundred years, we can easily see their counterparts in modern life. Perhaps this reflects a disappointing lack of progress in society, but in this case, society’s loss is comedy’s gain.
The applicability of Gilbert’s humor across the world and across time has something to do with the continued popularity of The Mikado. But beyond that, The Mikado offers perhaps Gilbert’s most realistic, immediately accessible and human story. It is that story you will see- Gilbert’s tale, as it was in 1885, told again. We hope we have captured Gilbert’s humor and his story for you tonight.
Enjoy the show.
