The Mikado controversy
The Mikado controversy
#1The Mikado controversy
Posted: 9/19/15 at 3:09pm
I haven't seen a major discussion of this here yet, so I figure I'll bring it up. With the cancellation of THE MIKADO, both the production and the piece itself have fallen under closer scrutiny. Where do you weigh in? Is MIKADO a harmless product of its time, or a minstrel show whose time has passed? Can staging changes or textual adaptations- so common with Gilbert and Sullivan anyway- save the show, or does the show not need saving at all?
Years ago I did MIKADO- it's the only G&S operetta I've ever done, so I'm deeply curious how other people feel about the piece today.
#2The Mikado controversy
Posted: 9/19/15 at 3:14pm
I don't feel like getting into the discussion here now (or maybe here EVER), but here are some handy links for people if you hadn't heard about this or had only heard a bit:
http://www.americantheatre.org/2015/09/18/keep-your-hands-off-of-my-kimono-white-people/
http://www.asamnews.com/2015/09/18/gilbert-sullivan-society-cancels-the-mikado-after-backlash/
http://blog.angryasianman.com/2015/09/the-mikado-in-yellowface-is-coming-to.html
"This thread reads like a series of White House memos." — Mister Matt
#3The Mikado controversy
Posted: 9/19/15 at 3:48pm
One of the more interesting reconceived productions I've seen is the Essgee Company in New Zealand, which presents MIKADO as part of its "Trilogy" of quasi-connected Gilbert and Sullivan operettas. The concept of the "Trilogy" is, in a bit of metatheatre, the actors portray, not quite THEMSELVES, but performers in a semi-fictional Essgee Theatre Company who present all three Gilbert and Sullivan shows in repertory. For instance, an Australian comedian plays "The Australian Comedian," who plays Major-General Stanley, Ko-Ko and Sir Joseph, with liberal applications of their own schtick and persona. A celebrity guest plays "The Celebrity Guest," who plays Poo-Bah, Pirate King and Dick Deadeye, and feuds with the show's conductor over his rapidly-dwindling star status.
In MIKADO, the company cut most of the cringier and more insensitive lines from the original play, and eschewed all yellowface or Kabuki makeup. Instead, the cast appeared mostly with natural hair and face, in costumes that were less Asian stereotypes than iconographically inspired... until Act 2. When the Mikado arrives, a white man in Kabuki makeup and costume, swathed in a gigantic Japanese flag and speaking with a realistic but thick Japanese accent, he is the only character onstage engaging in any race-play. And the other characters are well aware of it. They even try to call him out on it, but he keeps up the outdated pretense in the face of fourth-wall-breaking criticism. The joke lands, because it's a joke on him, and on the outdated cliches of so many MIKADO productions past. (In the megamix finale, the Mikado appears in a de-Orientalized, Elvis-inspired version of his costume, most likely to reassure the audience that they know they were pushing some buttons and are capable of thinking outside the outdated racialized box.)
MVintheheartland
Featured Actor Joined: 11/19/13
#4The Mikado controversy
Posted: 9/19/15 at 4:47pm
As I haven't seen The Mikado, I am in no position to comment. However, at what point does political correctness eliminate creations from the past? I certainly don't want to see minstrel shows or blackface by white actors, but are we in the process of sanitizing every production that comes along?
In our area, the local YMCA has been told they have to either drop the "Indian Guides" and "Indian Princesses" name or leave the auspices of the YMCA. A local Native American had apparently complained. For those of you who don't know, Indian Guides and Princesses is a father-son and father-daughter program, with campouts and activities. Both my kids were in it, and I don't recall any disrespectful practices regarding Native Americans.
Okay, I'm not Native American, but COME ON. What are we losing by all the political correctness? From what I can tell, The Mikado is probably not the best example of Gilbert and Sullivan for the current day. But should that work now be erased from the public consciousness?
I have mixed feelings.
#5The Mikado controversy
Posted: 9/19/15 at 5:01pm
We are losing nothing by treating people with dignity and respect but our own blithe ignorance. Why on earth would it bother you to change the name of Indian Guides and Princesses? What are you losing? Same about yellow face. I've found that people who defend antiquated, offensive practices by hollering about "PC" have very little of substance to contribute to the conversation.
MVintheheartland
Featured Actor Joined: 11/19/13
#6The Mikado controversy
Posted: 9/19/15 at 5:07pm
I understand your point. (As you can tell, I'm on the fence). It wasn't just the name, it was the campouts, their "tribes", other activities. Basically, changing the whole aspect.
So at some point, do we just not mention Native Americans because somewhere it won't be politically correct? (sorry, I AM going to contribute to the conversation). It seems we have done a good job wiping them out for the most part. (that was sarcasm, BTW)
MV
Updated On: 9/19/15 at 05:07 PM
Auggie27
Broadway Legend Joined: 10/13/03
#7The Mikado controversy
Posted: 9/19/15 at 5:11pm
Of course, "The Mikado" is a wicked if gentle little satire on the British, not the Japanese. Its arch Orientalism is means to an end, not the subject of the send-up. It's not even about appropriating or co-opting a culture; it actually employs the stereotypes merely to address English customs, foibles, and mores with another bag of tricks. That doesn't make "yellowface" remotely acceptable. Or necessary. It should inspire gifted (or at least ambitious) directors to work around it and with it, as many have over the decades. Anyone who thinks a literal depiction of Japanese people is a responsible -- or remotely artful -- approach to the material is devoid of directorial imagination, and shouldn't touch the operetta anyway.
By the way: if a production was mounted with an entirely Japanese cast, it would be mind-boggling for other reasons, per my comment above. In effect inadvertent "Occidentalism," since it would have Asian actors playing a satirical look at Western cultural mores. Hard to unpack, that, but if true to G&S, kind of what it would be.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Updated On: 9/19/15 at 05:11 PM
NYadgal
Broadway Legend Joined: 5/18/04
#8The Mikado controversy
Posted: 9/19/15 at 6:33pm
^ Brilliant. Bravo.
"Two drifters off to see the world. There's such a lot of world to see. . ."
RippedMan
Broadway Legend Joined: 8/14/05
#9The Mikado controversy
Posted: 9/19/15 at 9:20pm
Well said Auggie. And they weren't in yellowface, let's just clarify. They were in kabuki makeup.
And hell, it's a no-paying gig. Maybe no Asians wanted the job.
Fan123
Broadway Star Joined: 8/30/08
#10The Mikado controversy
Posted: 9/19/15 at 9:59pm
Commenting admittedly as a white person with no great claim to race relations expertise, I love The Mikado on the page, I think it’s hilarious. I’ve read it and have sat through one rather boring DVD version (with a seemingly all-white cast) and that’s about the extent of my experience with it. I can’t claim expertise as to how it plays on stage with different casting, costuming and editing choices. Nevertheless, I think it should still be performed in some way/version or other for the laughs, many of which, as Michael Dale notes, aren’t about the Japanese setting.
Reading the libretto from my POV at least, it always seemed as though most of the Japanese-themed jokes were funny because G&S’s attempts to invoke Japanese-ness were deliberately, ridiculously ineffective at doing so, and instead just invoked their own dorky English-ness. Characters with names like ‘Yum-Yum’ (for the pretty girl, of course), a town called ‘Titipu’, lines such as when the chorus literally says “The Japanese equivalent for ‘Hear, hear, hear!’ ”, etc. In theory at least, I wouldn’t mind a bumbling white/non-Asian cast who completely fails to seem even remotely Japanese. Something a bit like an Ali G vibe. I can see how this approach would be in danger of slipping into straight-up ridiculing of the Japanese, but if done carefully, the joke would be on the non-Asian cast… wouldn’t it?
Of course there’s also the option of an all- or partially-Asian cast performing the show. It might be only me who feels this way, but the line “Sometimes I sit and wonder, in my artless Japanese way, why it is that I am so much more attractive than anybody else in the whole world” always read to me like a parody of the demure Asian woman stereotype, not a sincere example of it. An Asian cast might have fun with lines like that … just my speculation of course, I’d be happy to hear actual Asians’ (or others&rsquo
thoughts on it.
#11The Mikado controversy
Posted: 9/19/15 at 10:17pm
I think THE MIKADO is G&S' best score and Auggie's post above the best post on the subject.
Read his first sentence again: the target of the satire is English politics and customs. So the best design will indicate as much by fusing English with a few Japanese design elements. So:
1. No yellow face.
2. Rewrite the "N-word serenader" and similar references.
3. Perform with English accents as originally intended.
4. Emphasize the physical comedy which is anything but Orientalism.
5. Ideally cast a mixture of Asian and European faces to call attention to the joke.
6. When possible, perform MIKADO in rep. One taste of any other G&S opera will tell the audience what the boys were doing.
7. In general, I don't think we should hold antique art forms to standards which were not invented in the day the art form was created. Yes, there are pieces so heinous (comedies on slavery--though it occurs to me we still do Plautus) as to be irretrievable, but *I* don't think THE MIKADO is one of them.
I'm sure others can add to the list above. I don't claim to be an expert on Asian-American sensibilities, but though I know it's not exactly analogous, PINAFORE has a jolly good laugh at MY ancestors, the sentimental and easily duped working class of 19th century Britain. I don't think we need to ban PINAFORE either, though it hardly paints a favorable picture of English intelligence or patriotism or nannies.
Updated On: 9/19/15 at 10:17 PM
edmundog2
Understudy Joined: 5/15/10
#12The Mikado controversy
Posted: 9/19/15 at 10:56pm
I saw a production once that placed it in a 1920s french seaside resort type setting, and changed "Japan" to some fictional country. It worked surprisingly well, though I'm sure some would consider it sacrilege. The director's note said it was inspired by a National Opera production from the '80s, so I guess there's precedent.
#13The Mikado controversy
Posted: 9/20/15 at 12:04am
^^^ I'd rather see an inventive approach to G&S than a reverent one. (Though I did see a production of RUDDIGORE set at Big Sur and played as "Gidget Sees a Ghost". I never did figure how what they thought they were doing.)
#14The Mikado controversy
Posted: 9/20/15 at 12:25am
The production I think cdmundog was referring to was Jonathan millers production for the English National Opera that set it at a British sea side resort in the 20's . The brilliant Mr Miler reasoned that theMikado had nothing to do with Japan but was just the British being silly, spoofing themselves.eric Idle starred in London and the production was filmed. It it brilliant.
At the same time I wonder how far this political casting will go. Fiddler on the Roof is being revived, Will it soon be necessary to cast an all Hebrew cast. How about Hairspray. Maybe soon it will be incorrect to cast a thin Edna and put them In a fat suit. Or maybe casting a man as a woman might soon be wrong.
A Director
Broadway Legend Joined: 12/18/07
#15The Mikado controversy
Posted: 9/20/15 at 12:46am
Ripped Man, Auggie27, Fan123, GavestonPS and South Fl Marc -
I strongly suggest you read all the linked articles in LizzyCurry's post. Perhaps, you will understand what the authors are explaining.
Ripped Man, you write, "And they weren't in yellowface, let's just clarify. They were in kabuki makeup."
I've seen the pictures and they are NOT in kabuki makeup. Even if they were, there would still be a problem.
South Fl Marc, you wonder,"Fiddler on the Roof is being revived, Will it soon be necessary to cast an all Hebrew cast."
Hebrew is a language! The original production of "Fiddler on the Roof" did not have an ALL JEWISH CAST. Your question is dumb!
#16The Mikado controversy
Posted: 9/20/15 at 10:11am
Gaveston - As far as the D'Oyly Carte goes, the "N Word" was removed from performance in the mid-1940s. It was replaced by "The Banjo Serenader", which of course is still hugely racist. Most productions today rewrite the entire song, anyway.
Phyllis Rogers Stone
Broadway Legend Joined: 9/16/07
#17The Mikado controversy
Posted: 9/20/15 at 12:31pm
At the same time I wonder how far this political casting will go. Fiddler on the Roof is being revived, Will it soon be necessary to cast an all Hebrew cast. How about Hairspray. Maybe soon it will be incorrect to cast a thin Edna and put them In a fat suit. Or maybe casting a man as a woman might soon be wrong.
Updated On: 9/20/15 at 12:31 PM
#18The Mikado controversy
Posted: 9/20/15 at 12:46pm
So why is it that blackface is universally agreed upon as racist and offensive in the United States, but yellow face isn't?
We're still rehashing the same tired excuses here as we have last year when the Seattle Gilbert & Sullivan society did the same thing with their production of "The Mikado".
Xanadu! Can't cry on cue!
#19The Mikado controversy
Posted: 9/20/15 at 12:55pm
Isn't "banjo serenader" a much clearer race reference in America than it would have been in postwar Britain, when people like George Fornby and other semi-obnoxious music hall veterans were performing cheeky tunes on banjo regularly? The banjo's relationship to minstrel show is stronger in America.
That said, "lady novelist" is usually changed too for obvious reasons. One of my favorite "topical updates," circa about 2009, was "And that singular anomaly- the Twilight novelist/Vampires can't be kissed!/For THAT, she's on the list."
#20The Mikado controversy
Posted: 9/20/15 at 1:44pm
I started hearing about this production before that cancelled it through my roommates. I have nothing more to add as Auggie's post was so eloquently stated and spot on.
I will say though, if you want to read more about a great production of The Mikado; Sean Graney's production of it with The Hypocrites in Chicago which then transferred to ART was a brilliant and inventive concept for the piece. It was the companies follow up to their Pirates of Penzance from a few years back.
#21The Mikado controversy
Posted: 9/20/15 at 2:06pm
Google--The Black Mikado....especially for Lizzi
nasty_khakis
Broadway Legend Joined: 3/15/07
#22The Mikado controversy
Posted: 9/20/15 at 2:13pm
drewboy, my best friend has been involved with many of the Hypocrites productions and when I went to see her at ACT last spring we had a long talk about this very issue. She said Sean worked VERY hard to cut out things that were flat out references to Japan or Japanese culture. They even changed lines to "Citizens of this land" instead of Japan. It was a very fun production, as is their Pirates and HMS Pinnafore.
#23The Mikado controversy
Posted: 9/20/15 at 2:15pm
Here is a link to the English National Opera production, directed by Jonathan Miller and starring Eric Idle.
https://www.youtube.com/watch?v=8SkOWxcbzn0
As previously observed, Gilbert & Sullivan satirized their own society, using the entirely fantastical town of Titipu as an extended metaphor for the follies of their own time and place- in the same way that Shakespeare set 'Romeo & Juliet' in Verona but was really discussing his own society's attitudes.
For Japanese people only to play the roles would actually begin an insult, since it would imply that the characters and their behaviour in the play actually resemble real Japan.
Surely any colour-blind casting is wrong if it is intended to disrespect a race. The Mikado is not disrespecting Japan, only England.
#24The Mikado controversy
Posted: 9/20/15 at 2:29pm
I'm usually on the side of No Censorship, but this artistic director is an asShole undeserving of anyone's support.
He claims to be a G&S expert, but he's clearly unqualified to direct G&S in the 21st century. He should leave the job to directors with the taste and intelligence NOT to insert a character called "The Axe Coolie" into The Mikado. A young girl hired to dress in stereotypical Chinese garb and run around the stage and shriek and squeal and threaten the other characters randomly with an axe? WHY?
Especially when "coolie" has become an offensive term for a 19th-century laborer from China (or possibly India) but never, ever, ever, anything to do with Japan. Which The Mikado is purportedly about. (Although anyone who knows ANYTHING about G&S knows that The Mikado is really a satire on British Victorian society.) So creating that character and inserting it into Gilbert & Sullivan's play is a simultaneous act of racism and artistic desecration, for either of which he should be fired.
He should be replaced with someone more sophisticated and intelligent, who can lead the New York Gilbert and Sullivan Society into the 21st century.
#25The Mikado controversy
Posted: 9/20/15 at 2:54pm
devonian.t said: "Surely any colour-blind casting is wrong if it is intended to disrespect a race. The Mikado is not disrespecting Japan, only England."
Sure, but it's by way of disrespectful jokes about Japan, which are still offensive unless couched in some kind of critical framing device.
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