At "The Mikado", now nearing the close of its fourth or fifth revival. It has been running at the Savoy since 1895. Rosina Brandram took the part of Katisha and Walter Passmore was Ko-Ko. Half empty house; band apathetic and playing with eyes anywhere but on the music. Seated near the stage, I could realise what at the theatre one realises so seldom, that the actors are ordinary human beings acting a part for a livelihood. I could see beneath the maks the evolutions of the real person, his lassitudes, excitements, pleasures, wearinesses. Never before have I seen these things so plainly, this under-life. Yet the excellence of "The Mikado" is such that as the evening passed, the piece took hold of the players, and lifting them out of their monotony, did away with the ennui that discloses their humanity.Saturday, 20 January 2018
Mikado
Wednesday, January 29th., Victoria Grove, London.
At "The Mikado", now nearing the close of its fourth or fifth revival. It has been running at the Savoy since 1895. Rosina Brandram took the part of Katisha and Walter Passmore was Ko-Ko. Half empty house; band apathetic and playing with eyes anywhere but on the music. Seated near the stage, I could realise what at the theatre one realises so seldom, that the actors are ordinary human beings acting a part for a livelihood. I could see beneath the maks the evolutions of the real person, his lassitudes, excitements, pleasures, wearinesses. Never before have I seen these things so plainly, this under-life. Yet the excellence of "The Mikado" is such that as the evening passed, the piece took hold of the players, and lifting them out of their monotony, did away with the ennui that discloses their humanity.
At "The Mikado", now nearing the close of its fourth or fifth revival. It has been running at the Savoy since 1895. Rosina Brandram took the part of Katisha and Walter Passmore was Ko-Ko. Half empty house; band apathetic and playing with eyes anywhere but on the music. Seated near the stage, I could realise what at the theatre one realises so seldom, that the actors are ordinary human beings acting a part for a livelihood. I could see beneath the maks the evolutions of the real person, his lassitudes, excitements, pleasures, wearinesses. Never before have I seen these things so plainly, this under-life. Yet the excellence of "The Mikado" is such that as the evening passed, the piece took hold of the players, and lifting them out of their monotony, did away with the ennui that discloses their humanity.
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