with thanks to the team at the Minack Theatre for their continued support of our productions, and as always, a huge thanks go to the people of Paul for having us whilst this production goes ahead from all at the Cambridge University Gilbert & Sullivan Society
THE CAMBRIDGE UNIVERSITY GILBERT & SULLIVAN SOCIETY PRESENT
THE MIKADO
AT
THE MINACK THEATRE PORTHCURNO
MIKADO [MI-KAH-DOH ] : NOUN, PLURAL MIKADOS. 1. (sometimes initial capital letter) a title of the emperor of Japan.
A year before the action of this opera begins, Nanki-Poo, son of the Mikado of Japan, fled his father’s imperial court to escape a marriage with Katisha, an elderly lady. Disguised as a traveling musician, he met and fell in love with Yum-Yum, the young ward of Ko-Ko, a cheap tailor in the town of Titipu. Yum-Yum, however, was already betrothed to her guardian, and Nanki-Poo left Titipu in despair.
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ACT ONE The scene opens on the noblemen of the Japanese town of Titipu. Nanki-Poo, a wandering minstrel, appears, asking after the whereabouts of Yum-Yum the girl he loves - who is betrothed to Ko-Ko, a tailor in the town who has been condemned to death. One of the noblemen, Pish-Tush, explains that Ko-Ko was reprieved at the last minute and made Lord Hugh Executioner, the reason being that - since he cannot cut off his own head - this would end the recent spate of executions which came as a result of the Mikado’s decree that flirting should be a capital offence. Pooh-Bah enters and explains that Ko-Ko and Yum-Yum are to be married that very afternoon. Tutipu’s inhabitants gather for a press conference with Ko-Ko, who reads out a list of people who, if he were to execute them, would not be missed by society. A group of schoolgirls enter talking about their hopes and dreams for the future. Yum-Yum and her sisters Pitti-Sing and Peep-Bo rush over to NankiPoo and introduce him to Ko-Ko. As Ko-Ko exits, the schoolgirls corner PoohBah and try to encourage him to be less uptight. Nanki-Poo reveals to Yum-Yum that he is infact the son of the Mikado and has fled court to avoid his arranged marriage to Katisha. Yum-Yum tells Nanki-Poo that she does not love Ko-Ko and would much rather marry him. A letter arrives from the Mikado instructing that an execution must be carried
out within a month. At the same time, Ko-Ko finds out Nanki-Poo has decided to commit suicide since he cannot marry Yum-Yum. They strike a deal - Nanki-poo is permitted to marry Yum-Yum for a month and then be beheaded. The townspeople, hearing about the Mikado’s orders, gather to demand that an excution be carried out by Ko-Ko, or else that he be executed. Admidst celebreation of the forthcoming wedding and the arrangement which has been made, Katisha appears demanding that Nanki-Poo be returned to her as her promised husband. She tries to reveal his true identity but is thwarted and leaves, threatening to go to the Mikado for assistance.
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ACT TWO Yum-Yum is getting ready for he wedding while reflecting on her aspirations of power. A madrigal is sung, celebrating the upcoming wedding and lamenting that the marriage will be cut short. Ko-Ko enters and reveals that there is an old law which states that, should a maried man be executed, his spouse must be buried alive. Concerned for her life, Yum-Yum calls off her engagement to Nanki-Poo. Nanki-Poo once again decides to take his own life, but at that moment, Pooh-Bah brings news that the Mikado will be arriving in the town immediately. Presuming that this is to check an execution has been performed,
Nanki-Poo allows Koko to execute him there and then - Ko-Ko, however, admits he is incapable of killing Nanki-Poo, and so agrees that Nanki-poo may elope with Yum-Yum immediately and asks Pooh-Bah to fake a death certificate for him. The Mikado arries to adoring crowds in and relates his aim that all criminal be punished in a way which befits their crime. Ko-Ko, Pitti-Sing and PoohBah tell the story of the execution they have carried out, hoping this will please the Mikado, but it turns out that the Mikado has infact come in search of his son, Nanki-Poo. When it is revealed that Poo-Bah has Nanki-Poo’s death certificate, Ko-Ko, Pitti-Sing and Pooh-Bah are sentenced to death, scheduled to be carried out after lunch. The three unlucky convicts are visited by Nanki-Poo and Yum-Yum as they leave for their honeymoon. Nanki-Poo suggest that if Ko-Ko were to persuade Katisha to marry him, then she would no longer have a claim on Nanki-Poo and thus he could reveal himself and clear the three of their charges. Katisha is mourning the loss of her love when she is interrupted by Ko-Ko, who tells her of his burning love for her which, if unrequited, will lead to hum dying of a broken heart. Katisha agrees to marry Ko-Ko and the two rejoice. After lunch, the Mikado calls for the convicts’ execution - Katisha begs for mercy for the three, including her new husband. Before the Mikado can pass judgement, Nanki-Poo and Yum-Yum appear. After brief consideration, the Mikado is satisfied with affairs as they stand and all rejoice
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DIRECTOR’S NOTES As soon as I came on board as director of this production of The Mikado, I knew that I wanted it to be set in a contemporary environment. Although the operetta originally capitalised on the British fascination with the Far East that manifested itself in the 19th Century, I wanted to produce a show that transcended this by mixing the original structure with ‘the new’. The character of the Mikado became essential to the creation of an updated version of the show. Following the understanding that in the current society the equivalent of the Mikado would be a highly sought after celebrity, the decision was made to transform him into a pop-star who dualistically commanded the power of the state. Despite the Mikado being central to the whole environment the show was based around, the ‘Humane Mikado’ was one of the most difficult sequences to create during the rehearsal process. After a few workshop sessions with the cast, the company managed to create a version of this song which was noticeably different from its original but still conveyed the admiration and immense following that The Mikado has. The modern twist that we have given the show can not only be seen visually but should also be noticed in edits of the dialogue and song lyrics; now referencing issues such as the Great British Bake Off, Ed Balls appearing on Strictly Come Dancing and the wearing of skinny jeans. I would like to highlight the contributions made by Michael Morrison, Seth Kruger and Joe Dutton in creating these wonderfully up-to- date versions. Gilbert’s text of The Mikado deals with themes, such as burial death (‘what a
stuffy death’) in a trivial and light-hearted manner. I decided to emphasise this by juxtaposing the more realistic sections of the show with the more stylised and absurd, as shown in the addition of a chorus line of grave diggers during the song, ‘Here’s a how-de- do’. It is through sections such as this that we hope to have successfully conveyed the unchanging essence of The Mikado – its surprise, its intelligence and above all else, its joy. I would like to thank everyone who has put in so much time and effort to make this production happen. I would particularly like to give recognition to Amalie Fisher, the Musical Director, and the members of the cast – all whom have demonstrated fantastic levels of commitment, talent and general loveliness. Maddy Gailbraith | Director | The Mikado 2016
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MUSICAL DIRECTOR’S NOTES I first experienced The Mikado when, at the age of one and a half, I listened in to the rehearsals of a production in which my parents were involved in the Falkland Islands – although sadly all of the performances were past my bedtime... I have grown to love the music more and more through participating in two subsequent productions, but this is the first time I have had the opportunity to musically direct the operetta, and it has been a privilege to work with such masterfully crafted and beautiful music. It would be difficult to isolate my favourite musical moment in The Mikado. The songs, although highly varied in style, complement each other, and it is this mixture of styles, from the fun and ridiculous to the serious and poignant, which makes the musical score what it is. One of the most entertaining numbers to rehearse is the trio in Act I, an argument between Pooh-Bah, Ko-Ko and PishTush. While Pooh-Bah and Ko-Ko are each concerned with arguing their way out of their own execution, Pish-Tush looks on making ‘helpful’ comments, assuring them that being beheaded isn’t really that painful at all, and that their situations are therefore quite ‘jolly’! After each of the three state their case in a distinct musical line, the three lines are heard simultaneously in an ingenious Bachian counterpoint, creating a surprisingly realistic depiction of three stubborn people refusing to listen to each other (a situation most of us can relate to…!). The traditional accelerando in the second half of the song, effectively a ‘patter’ trio, presents an appealing challenge to the singers - and orchestra. However, perhaps Sullivan’s greatest mastery is revealed in the sudden moments of beauty which temporarily push the fun and frivolity into the background. Yum-Yum’s well-loved aria, ‘The sun, whose rays’ near the
beginning of Act II is one such moment. As is so often the case, it is the song’s charming simplicity that makes it so beautiful – a lyrical melody is accompanied by repeated chords in the strings for two verses, and in the second verse the woodwinds weave a gentle line in the background. It is unsurprising that Sullivan should have given such a lovely aria to the leading lady of the operetta. More unexpected are the two moments in which Katisha suddenly breaks forth into music so heartrending that this seemingly violent and revengeful character is temporarily replaced by a distressed, pitiable and heartbroken woman. This first happens in the middle of the Act I finale, to the text ‘The hour of gladness is dead and gone’, and again in her aria near the end of Act II, which culminates in one of the most passionate climaxes of the entire musical score. The experience of rehearsing this operetta in two weeks has been exhilarating, exciting and eye-opening. While there have been inevitable moments of stress (such as being forced to write musical director’s notes!), they pale in comparison to the sheer amount of fun and enjoyment we have had in putting together the show – and after all, that is what G&S is really about. I am incredibly grateful to the cast and orchestra, and in particular to Maddy, the director, and Joanna, the Assistant Musical Director, for making this experience the joy that it has been. AMALIE FISHER | Musical Director | The Mikado 2016
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THE CAST
ALEX MCKENZIE – NANKI-POO Alex is from The Other Place, but hopefully the rest of the cast don’t hold that against him (too much). Having just graduated with a degree in Maths and Philosophy, he is currently looking for work in Berlin. He’s previously played Alexis (The Sorcerer) at the Minack last year, Roger (His Dark Materials part 1) at the Keble O’Reilly in Oxford in 2014, Taylor Swift (Balliol College Charity Musical 2016) and was the musical director for Balliol College Charity Musical 2014 (Beauty and the Beast).
EMILY RUSSELL – YUM-YUM Emily is entering her final year studying Mathematics (and spending a considerable amount of time singing) at Cambridge. She is extremely excited to be returning to the Minack theatre this year, having been a chorus member in last year’s production of the Sorcerer. Her enthusiasm for Gilbert and Sullivan began with a school production of Ruddigore, and she has managed to squeeze in a chorus role in Patience, and playing violin in Pirates of Penzance during her time at university so far. She is part of a Minack loving family; her sister Florence is in the chorus and their mum Libby has four Minack G&S performances to her name.
MICHAEL MORRISON – KO-KO Michael is about to go into his second year studying Classics at Corpus Christi college, Cambridge. Having started singing lessons in his first year, he has enjoyed participating in many G&S productions, playing the Major General in The Pirates of Penzance and Jack Point in The Yeomen of the Guard as well as singing in the Male Chorus of Iolanthe. Other opera credits include Gianni Schicchi (Gianni Schicchi) and Pastor/Footman (Vanessa) plus a brief attempt at singing countertenor as Annas in Jesus Christ Superstar. He also recently played Lord Augustus in Lady Windermere’s Fan and has set designed for shows at the Robinson Auditorium, ADC Theatre and Corpus Playroom. He is ecstatic to be playing his favourite G&S role and has loved the intensive rehearsals for the show in such a picturesque setting.
BRYN REINSTADLER – KATISHA Bryn is just starting her MPhil in Computational Biology at the University of Cambridge, and she is delighted to be performing once more with the Cambridge University Gilbert & Sullivan Society. Since her love of opera began during her undergraduate years at Williams College in Massachusetts USA, her roles have included Paquette (Candide), Mabel (The Pirates of Penzance), and Elsie (The Yeomen of the Guard). She is excited for her upcoming project, musically directing the CUG&S Freshers’ Show, The Gondoliers.
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LEWIS WHYTE – POOH-BAH Lewis is something of an imposter in the cast having graduated from Durham University in 2015 and subsequently completed his studies at Nottingham Law School. At Durham, Lewis held a choral scholarship in the St John’s College Chapel Choir and was an active member of the Durham Opera Ensemble both as a performer and as the 2014/15 President. Throughout his time at university, Lewis had the good fortune to work with a number of prominent baritones including Philippe Brocard, Roderick Williams and Sir Thomas Allen. He is very pleased to be joining Cambridge G&S for their Minack show – a theatre that he has wanted to visit for a very long time!
NATALIE REEVE – PITTI-SING Natalie is a third-year English student at Jesus College Cambridge, flung upon the cliffs of Cornwall for the first time as of this year. Having previously played everyone from Archibald Grosvenor (Patience, 2015) to Yum-Yum (The Mikado, 2014) in the G&S repertoire, she is now attempting to do the rounds of the three little maids, starting with Pitti-Sing. There will be schoolgirl japes. There will be cervical vertebrae. Be prepared.
DAVID LAWRENCE – PISH-TUSH David is returning to Cambridge this year for his fourth and final year, reading Chemistry at Girton College but this is, regrettably, his first involvement with the G&S Society. He has been wasting the rest of his undergraduate career in labs, chapel choirs and university orchestras but has enjoyed a return to thesping this year with credits in Sweeney Todd and Dido is Dead: a New Chamber Opera. He is looking forward to stepping into the role of Pish-Tush and hopes his first Minack experience won’t be his last!
SARAH CATTLEY – PEEP-BO Sarah has just graduated from Newnham College, where she studied music. She is glad to be back for a second show at the Minack after performing in the chorus of the The Sorcerer here last year. This is her ninth show with the society; her previous roles include a crazy fairy in the chorus of Iolanthe and Ruth in The Pirates of Penzance.
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SETH KRUGER – THE MIKADO Seth Kruger is a third year ostensibly studying English at Gonville & Caius College, Cambridge, but secretly spending far more time in the theatre than the library. Due to poor state school budget allocation he did very little acting before university, but after playing The Mikado in his first show at Cambridge he quickly got stuck in. Previous credits include: Stanley Kowalski (A Streetcar Named Desire), King Claudius (Hamlet), Clov (Endgame), Lord Chancellor, Iolanthe (West Road Concert Hall), Jason (Medea), Dorian Gray (The Picture of Dorian Gray), and Gloucester (King Lear). When he isn’t acting, he doesn’t really know what to do with himself. After Cambridge, he hopes to pursue a career in acting, but will probably settle for a cushy job in a hip bookstore/coffeehouse.
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JONAS ANDERSSON MALE CHORUS Jonas has been involved in several CUG&S productions, playing Private Willis in Iolanthe at Cambridge’s West Road Concert Hall earlier this year. Jonas is currently studying zoology at Anglia Ruskin University. He loves all animals, but especially dogs, and enjoys fencing, volleyball and rugby.
SAM BRENNAN MALE CHORUS A recent maths graduate, Sam is looking to enjoy one more show with the CUG&S society before moving on to the big wide world. This is his fifth performance with the CUG&S society, having played the Notary in The Sorcerer at the Minack last year. When relaxing, Sam enjoys playing chess and bridge.
NATALIE MAYER-HUTCHINGS FEMALE CHORUS Natalie returns to the Minack with the Cambridge University G&S Society, having taken part in last year’s production of The Sorcerer. With the Society, she has also been involved in productions of Patience (as the Lady Ella) and Iolanthe (as Producer), and can be found singing (preferably above the stave) with various choirs around Cambridge.
JACK MORETON MALE CHORUS Jack is a graduate from Durham University, where he was president of the University’s musical theatre society, DULOG. Though to date he has spent most of his time on the other side of the table as a musical director, he’s looking forward to getting stuck in to The Mikado for the second time!
FLORENCE RUSSELL FEMALE CHORUS Florence isn’t a Cambridge student or indeed at University yet but that hasn’t stopped her tagging along with her sister Emily to be in the Minack performance. Her first experience of Gilbert and Sullivan was in a school production of Ruddigore. Florence enjoys musical theatre and singing in choirs and hopes to be involved in both at Durham university where she is due to start this October.
ANNA SMITH FEMALE CHORUS Anna is a third year chemist at Magdalene College, Cambridge. When not confined to the labs, she has enjoyed getting involved with theatre, having performed in Guys and Dolls, Patience, The Grand Duke, Pirates of Penzance and Cymbeline, and choreographed and performed in Bugsy Malone and Jesus Christ Superstar.
JAMES WARD MALE CHORUS James is entering the second year of his engineering degree at Cambridge. He joined the society via last year’s freshers’ show, and has now been involved with four of the society’s productions and sits on the committee. This is James’ first time at the Minack, and he hopes to keep returning.
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THE TEAM MADDY GAILBRAITH – THE DIRECTOR Maddy has just completed her second year reading History of Art at Corpus Christi College, Cambridge. Maddy has previously worked with the Cambridge G&S Society as assistant director for productions of Iolanthe, The Sorcerer and Kiss me, Kate. This is Maddy’s second time working on a production at the Minack theatre and she is very excited to be back. When she is not directing, Maddy enjoys spending time skiing on the slopes and drinking cocktails.
LEWIS SCOTT – THE PRODUCER Lewis is just about to begin his fourth year reading Modern and Medieval Languages at Downing College. He has previously produced Pippin (C Venues, Edinburgh Festival Fringe), The Witches of Eastwick and All My Sons (both ADC Theatre, Cambridge), Gatsby (Howard Theatre, Cambridge) and The Laramie Project (Corpus Playroom, Cambridge). He is currently preparing to take an educational tour of Hamlet to venues across Europe in December.
AMALIE FISHER - MUSICAL DIRECTOR Amalie has just graduated from Trinity College and is about to start a Masters in choral studies. She first performed in the Mikado four years ago in a production put on with her family and friends to celebrate her eighteenth birthday. She has been involved in the society for two years, and this is her third production at the Minack theatre.
ROSIE CAUSER – ASSISTANT PRODUCER Rosie is about to begin her third year studying English at Magdalene College, Cambridge. Rosie first became involved with musical theatre at Cambridge when she assistant directed Guys and Dolls with Magdalene Musical Production Society, going on to become President of MMPS and produce Godspell the following year. She also co-directed A New Musical In Concert at the ADC. This is Rosie’s first show with the CUG&S society. When she is not taking unflattering photos of the cast in rehearsal or pouring over chore rotas, she enjoys exploring the local Cornish countryside on her bike. JOSEPH DUTTON - ASSISTANT DIRECTOR Joe is returning to the Minack for his third year, having been in the chorus for HMS Pinafore and The Sorcerer. This year he returns to the chorus as well as Assistant Directing. He is ever grateful to the people of Paul and Mousehole for putting up with us for the last 30 years. He has also played Samuel in the Pirates of Penzance at the Edinburgh fringe and helped to produce Iolanthe at Cambridge’s West Road Concert Hall, as well as serving the G&S committee as Secretary and Social Secretary. Besides G&S, Joe is a freshly graduated Plant Scientist and about to embark upon an MSc in Science Communication. In his spare time he talks to plants, and fervently hopes that they never talk back. ANASTASIA BRUCE-JONES - ASSISTANT DIRECTOR Anastasia fell in love with both G&S and the people who perform it while assistant directing ‘Iolanthe’ earlier this year, and couldn’t wait to get back on board for another helping of Sullivan genius and Gilbert madness. Aside from G&S, Anastasia is currently attempting to scrape a degree in English from Caius College, while involving herself in as many theatre productions as is physically possible. This is her 13th of 2016. Her next project is her solo directing debut, a production of ‘The Duchess of Malfi’ at the ADC Theatre in Cambridge.’
LEAH WARD - TECHNICAL DIRECTOR Leah is studying Mathematics at Emmanuel College. Since last September she has been a semipermanent resident of the Cambridge ADC theatre workshop. The reasons for this include being Technical Director for Coram Boy, Trojan Barbie, West Side Story and A Little Night Music, and carpenter for The Winter’s Tale. Having also toured Europe with Cambridge theatre tour ETG’s production of Twelfth Night, she is going again this year with Hamlet. JAMES WRIGHT - STAGE MANAGER James graduated this year from Trinity Hall after three years studying Computer Science. As well as ‘The Sorcerer’ at the Minack Theatre last year, and ‘I Love You Because’ at the Edinburgh Fringe Festival this year, previous stage management credits at the ADC Theatre in Cambridge include ‘West Side Story’, ‘Spring Awakening’, and ‘Equus’. ALEX BARNETT DEPUTY STAGE MANAGER Alex is a second year Historian at Corpus Christi College. Most of the time she can be found in the theatre stage managing or producing to avoid her degree. Previous credits include: (in Cambridge) Spring Awakening - Deputy Stage Manager; A Little Night Music - Deputy Stage Manager; Bull co-producer; (at the Ambassadors Theatre, London) Romeo & Juliet - Assistant Stage Manager. She is excited to be Deputy Stage Managing the CUADC/Footlights Panto 2016 in December.
JAMIE BALCOME PRODUCTION MANAGER Having been involved in almost every technical role available in the ADC, from Technical Manager, to sound designer, to Pyrotechnician in 2015’s The Sorceror at the Minack; The Mikado is sure to be safe and sound in the very capable hands of Jamie. ELEANOR BRUG – COMPANY MANAGER Eleanor Brug recently finished her Master’s in Materials Science at St Catharine’s College at Cambridge and will be starting her PhD in deformation of ultra-hard ceramics there this fall. She has previously been technical director for several shows in Cambridge including Equus (2015) and the Footlights Spring Revue: Chocolate Moose (2016). She’s previously joined CUG&S as a violist at the Minack for the Sorceror (2015) and HMS Pinafore (2014). This is her first time as Company Manager, and she’s found cooking (and budgeting) food for 65 people every day to be quite enjoyable. JOANNA CHENG ASSISTANT MUSICAL DIRECTOR, VIOLIN Joanna has just finished her first year studying Maths at Magdalene College, Cambridge. This is Joanna’s first time performing with the University’s Gilbert and Sulivan society, although it is not her first foray into musical theatre. Joanna was the Assistant Musical Director for the Cambridge University Musical Theatre Society’s production of A Little Night Music, and played in the bands for Spring Awakening, Godspell and West Side Story. She also plays in various orchestras, including the Cambridge University Pop Orchestra, the Cambridge University Symphony Orchestra and the Cambridge University Music Society Symphony Orchestra.
THEO HEYMANN ASSISTANT PRODUCTION MANAGER Theo has just finished his first year studying Engineering at St John’s College. His previous credits include Peter Grimes and Grief as Technical Director and Coram Boy as Master Carpenter (all ADC Theatre, Cambridge). Theo is preparing to be Technical Director of Little Shop of Horrors in November.
ALAN EGAN SOUND DESIGNER Alan is currently studying Engineering at Cambridge University, about to start his fourth year on the course. Previous credits as sound designer include RENT (ADC Theatre), CUADC/Footlights Pantomime 2015 (ADC Theatre) and CUMTS Gala Night 2016 (ADC Theatre). At last year’s CUG&S performance at the Minack, The Sorcerer, Alan was the Sound No.2.
JON FRENCH LIGHTING DESIGNER Jon is a recent graduate in Computer Science from Cambridge, now working as a researcher at the university Computer Laboratory. Previous credits as lighting designer include Of Mice And Men (ADC Theatre), Rope (Corpus Playroom), Princess Ida (Harrogate Festival 2014), Eugene Onegin (West Road Concert Hall), and last year’s CUG&S production at the Minack Theatre, The Sorcerer.
JOYCE LEE ASSISTANT STAGE MANAGER Joyce is a second year historian at Newnham College. She has been involved in BULL as CoProducer; Sister Abigail and Antigone as Stage Manager; Trump’d as DSM and various ASM roles. She has come along to Minack as an ASM in the hopes of spotting dolphins when not running around with props and mics. STEPHANIE McMORRAN ASSISTANT STAGE MANAGER Stephanie is playing the part of one of the Assistant Stage Managers. When not running around backstage starting her second year of an English degree at King’s College. Although she has occupied various roles for different productions throughout the year this is her first time in Cornwall and first G&S production. CORINNE CLARKE TECHNICAL ASSISTANT Corinne is a first year student reading English at Fitzwilliam College. This is her second time at Minack, after taking on the role of Assistant Stage Manager in the society’s production of The Sorcerer last year. She intends to learn from the experience, and will be operating from within a wind-proofed blanket fort for the duration of the run. PETER GRIFFIN MASTER CARPENTER Peter studies Photonics at Darwin College. His previous credits include Coram Boy and Sister Abigail as Lighting Designer, West Side Story as Master Carpenter and Spectrum as Technical Director. He is currently preparing to be Chief Electrician for this year’s CUADC/Footlights Pantomime in November.
SIMON ALLISON ASSISTANT SOUND DESIGNER Australian born, Simon worked in politics and government before completing a Bachelor of Laws (with first class honours) and Masters of Laws at the University of Western Australia. Aged 27, Simon moved to Cambridge to commence PhD studies in Law of the Sea as a Cambridge Australia Poynton Scholar. At Cambridge Simon revisited his love of stage sound and lighting design. Simon was very lucky to be an assistant sound designer in the CUADC/Footlights 2015 Panto ‘Robin Hood’ and earlier this year produced Bugsy Malone at Queens’ College. This is the second time Simon has worked alongside sound legend Alan Egan as assistant sound designer. It is going to be a terrific show. LYDIA CLARK SET DESIGNER Lydia is an MPhil student studying Anglo-Saxon, Norse and Celtic at St John’s College. She would like to claim her role here was “Merely corroborative detail, intended to give artistic verisimilitude to an otherwise bald and unconvincing narrative”. Previous credits include - As Set Designer: Henry IV (ADC Theatre), CUADC/Footlights Pantomime 2015, Robin Hood (ADC Theatre); As Technical Director: The Sorcerer (Minack Theatre, Porthcurno); As Master Carpenter: HMS Pinafore (Minack Theatre, Porthcurno).
FLORA CHATT COSTUME DESIGNER Having been involved in the technical side of productions within Cambridge since 2014, Flora brings the knowledge and experience of her previous roles as costume design to this modern twist on a classic production. Other productions include Peter Grimes at the ADC, A Severed Head at the Corpus Playrooms and Short Stories: New Student Operas at the Trinity College Chapel
OLIVER BALDOCK PUBLICITY DESIGNER Oliver recently graduated from studying Architecture at Christ’s College, Cambridge, and is currently freelancing as a graphic designer, with ongoing projects including the ADC’s Duchess of Malfi, the ADC’s Christmas Panto, and the Pembroke Player’s 88MPH. He is a workaholic and always looking for new projects! The Mikado has allowed him to get back into hand-drawing with regards to his publicity role, leaving him a very very happy artist, although somewhat stressed after the tight deadlines of this play. His full portfolio can be viewed at www.oliverbaldock.com oliverbaldock@gmail.com
DAVID WOOD PYROTECHNICIAN David has been lighting and electrical technician on numerous productions since 2012, becoming Chief Electrician for two productions in 2015 at the ADC. His previous productions include The Strip at the ADC in 2015, Kiss me, Kate, at the West Road Concert Hall and a 2014 tour of Macbeth which went from the ADC to Utrecht and everywhere inbetween.
JACK SWANBOROUGH SIGNWRITER Jack is a fourth year at St John’s studying electronic engineering. Having been Technical Director for two previous Minack shows, Jack is here in a mainly ceremonial function. Previous Credits include - As Technical Director: CUADC/Footlights Pantomime 2015, Robin Hood (ADC Theatre), The Sorcerer (Minack Theatre, Porthcurno) CUADC/Footlights Pantomime 2014, the Emperor’s New Clothes (ADC Theatre), HMS Pinafore (Minack Theatre, Porthcurno).
NOTES FROM THE DESIGNERS ALEX EGAN
LYDIA CLARK
SOUND DESIGNER
SET DESIGNER
Unlike many of the other disciplines
Set design at Minack presents a unique
that go into making an enjoyable
opportunity: to design a set that
show, be it the dazzling lighting, the
complements this unique space yet
impeccable acting or the gorgeous set
also stands up to the travails of the
designs, my aims as a sound designer
weather is as much a challenge as it is
are not always obvious.
a privilege.
Obtaining an expansive soundscape
This year’s production of the Mikado
is an integral part of my job, to
is set in Modern Japan, a location not
ensure that the myriad of emotions
exactly synonymous with Cornwall. In
that the musicians and cast can
designing the set for the Mikado then,
express are properly conveyed to
it was an interesting to try to reconcile
you, the audience. Everything from
the two, evoking a small Japanese
the booming timpani to the delicate
town whilst preserving the beauty of
strings needs to be carefully balanced
the clifftop setting at Minack.
against the vocal dexterity of the cast. As the staging is more contemporary, The above notwithstanding, the main
I
have
combined
the
traditional
part of my job is far more subtle: to not
silhouettes of Japanese wooden houses
be noticed. If I’ve done my job right,
and arches with the sign-cluttered
the skill of the cast and musicians will
streets so distinctive of Modern Japan.
be seemingly effortlessly conveyed
The set forms an unchanging backdrop
unimpeded. I hope you enjoy the show.
to the story, brought to life by the extraordinary events taking place in an otherwise provincial town
FLORA CHATT
JON FRENCH
COSTUME DESIGNER
LIGHTING DESIGNER
This year’s performance of The Mikado
This is my third CUG&S production
took a less traditional approach in terms
at the Minack, and my second
of its setting and consequently its costume:
as Lighting Designer. The Minack
traditional Japanese dress was overlooked in
Theatre is the most challenging venue
favour of a more varied approach, drawing
I have ever worked in but also one
on a wider range of influences, Eastern and
of the most rewarding. In common
Western, modern and traditional. For the
with other outdoor venues, all our
lead characters I took full advantage of this
equipment has to be protected from
to give them distinctive outfits, suited to
the elements and often rigged in
their characters. Flashy gold chains and silk
tricky locations, in order to integrate
are used for the Mikado, while Pooh-Bah
our
has a more of a gentlemanly ‘toff’ look, and
beautiful architecture. However, this is
the maids (Yum-Yum, Pitti-Sing and Peep-
the only theatre I have ever worked
Bo) are wearing outfits inspired by the
in where the cast occasionally gets
bold, bright and feminine styles of modern
upstaged by dolphins, and the phase
Japanese girl bands.
of the moon actually does affect the
lighting
with
the
Minack’s
brightness of the lighting. Bearing in mind the challenges of designing
Even when performed traditionally,
costumes for an outdoor performance,
The Mikado is one of the more
which would be seen by many from a long
interesting
distances, I chose looks with distinct colour
operettas to light, being set in a
themes for the lead characters, so that the
fantastical version of Victorian-era
audience could tell them apart easily, while
Japan. Our modern interpretation
giving the chorus a standard ‘uniform’, with
of the show likewise provides great
a variety of accessories to subtly accentuate
opportunities to do some lighting
their individual characters.
effects that aren’t usually seen in
Gilbert
and
Sullivan
traditional productions of G&S. I hope you enjoy the Mikado’s concert!
T H E M I K A D O | T H E M I N A C K T H E AT R E | S E P T E M B E R 2 0 1 6 AND LASTLY, BUT BY NO MEANS LEAST
THE BAND VIOLIN
KARI FISHER JOE SWARTZENTRUBER LIZ VOSPER JOANNA CHENG
VIOLA
MATT MCKAY
CELLO
HANNAH ROBINSON
DOUBLE BASS
FREYA MARTIN
FLUTE
HENRY WORRALL CHRISTINA ALISHAW
OBOE
LUCY OSWALD
CLARINET
TARA HILL TIM BOSSANYI
BASSOON
LOUIS STRINGER
TRUMPET
TOM EDINBURGH CECILIA CARLISLE
FRENCH HORN
MORITZ GRIMM IAIN VOSPER
TROMBONE
WILLIAM BARNES-MCCALLUM
PERCUSSION
ELSPETH COLLARD