I tried to get one of my kids to come with me to the Seattle Gilbert and Sullivan Society's new production of "Utopia, Limited," explaining that it wasn't opera, it was SATIRE of opera, making fun of the conventions of the day, but no go. They couldn't tell the difference which is a shame. The only thing that would get them into a theater would be an all black version of Music Man with Harold Hill gangsta rapping about trouble in River City.
So I went by myself and thank god I did because this production rocks. No, they didn't add electric guitars to the orchestra pit, it rocked conventionally, by delivering a show Gilbert and Sullivan themselves would have totally admired. The material couldn't possibly have been served any better.
There's nothing shabby about this production at all. They art directed the hell out of it, the costumes and sets are colorful and extravagant, the choreography classic, and the performances universally top notch, so good that if I started rattling off the highlights, I'd have to mention absolutely everybody, who are all given moments to shine. It's an enormous theater and I could understand every word, which is quite a triumph considering the assault of verbiage in the parade of patter songs.
The plot, involving a primitive island, Utopia, that gets westernized by British corporations, allows the show to satirize all manner of old politics that turn out to be pretty much the same as today. Sly little updates to the lyrics made it all relevant and kept the audience in stitches.
With many subtle, and some not so subtle nudges, the show also points out the incredible influence Gilbert and Sullivan had upon Monty Python and the Marx Brothers, not to mention Stephen Sondheim, whose "Pacific Overtures" tells pretty much the same story.
Props to Sam Longoria who got me in, and served magnificently as the John Cleese of the piece. In fact, the only thing wrong with this production is Sam didn't have enough to do.
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