Review: THE MIKADO, EH! at Gamut Theatre

Gamut Theatre presents an adaptation of Gilbert and Sullivan’s 1885 operetta The Mikado November 8-23. This adaptation, The Mikado, Eh!, is written and directed by Benjamin Krumreig and takes place on the outskirts of Saskatoon in Canada. The Mikado has been adapted numerous times, while maintaining its satirical exploration of society and politics. Filled with contemporary references and local humor, The Mikado, Eh! is immensely accessible to those who might normally find the idea of an operetta intimidating.

The props (by Alex Winnick), set (by Calian Byard and Janos Boon), and costumes (by Michael Ciaramitaro) lean into the Canadian setting of the show, with flannel and maple leaves in abundance. Music director, conductor, and keyboardist Nicholas Werner opens the show with a delightful display of his nimble and expressive piano skills. Director Benjamin Krumreig’s staging and choreography add energy to the performance, using movement and space to help tell the story.

The men’s ensemble, featuring Benjamin Krumreig, Christopher Ondeck, Alex Winnick, Tony Barber, Ethan Goss, and Quentin West, enthrall the audience with their gorgeous harmonies, precise enunciation, and energy-packed dancing. Their opening number “If You Want to Know Who We Are” sets the tone for this wildly engaging production. The women’s ensemble, including Victoria Debernardis, Erika McCandless, Bryden McCurdy, Larissa Curcio, Deandrah Rodriguez, Becky Mease, and Maria Petrilak, while occasionally difficult to understand, offer up equally beautiful harmonies on songs such as “Comes a Train of Little Ladies” and “Braid the Golden Hair”.

Becky Mease gives a scene-stealing performance as Autumn’s sister Josephine. Her facial expressions, comedic timing, and interactions with the other characters make Josephine shine. Madison Eppley’s Autumn is effervescent. Her bright smile, wide-eyed vivacity, and coy flirtatiousness fit the role of the love-struck ingenue perfectly. Her lovely, lilting soprano tones soar, and her performance of “The Sun, Whose Rays are All Ablaze” is an audience favorite. She is well-matched with Timothy Lupia as Bertie-Lou. Lupia gives a wonderfully emotional performance as Bertie-Lou, taking the audience on a rollercoaster ride as they wonder if he will survive to marry the woman he loves. Sarah Anne Hughes gives off definite wicked witch vibes as she seeks to capture Bertie-Lou’s affections. Her appearance at the end of Act 1 adds a layer of tension to the action. It is particularly nice to hear Hughes’s lower vocal range spotlighted in this performance.

Benjamin Krumreig, Preston Schreffler, and Eric Mansilla give some of the best vocal and comedic performances of the evening. Krumreig is a fantastic storyteller, and his beautiful clear voice is a breath of fresh air. Schreffler gets the comedy award for the evening as Big Bob, seamlessly altering his voice, accent, posture, and gestures to personify each important societal role taken on by his character. Mansilla, who wrote the hysterical new lyrics for “List Song”, gives a flawless performance as Coco. He fully embodies his character, capturing the audience’s attention every moment he’s on stage. One of this reviewer’s favorite performances of the evening comes from Christopher Ondeck, who portrays The Mikado. Not only does he carry off a glittering tiara and bedazzled hockey uniform with strength and grace, but he also wows the audience with his resonant voice and thrilling stage presence.

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