Summary: Black Mikados
Assignment 2: Article Summary by Andrew Velez
- Vallillo, Stephen. “Battle of the Black Mikados.” Black American Literature Forum 16 no. 4 (Winter 1982): 153-57.
In the 1930’s G&S productions in the U.S. (more specifically, New York City) saw a rare
moment theater history when two Mikado productions were happening simultaneously. What is notable about this occurrence is the fact that both productions featured all-black casts, but were directed by white directors. The Swing Mikado was made by the Federal Theatre Project (a New Deal works program) and the Hot Mikado was put on by producer Michael Todd. Harry Minturn served as the Swing Mikado director, but developed the idea once he realized several cast members had performed in the genuine Mikado. Gentry Warren was called in to re-arrange the music and make more jazz-oriented. Set in a “coral Island in the Pacific,” it provided the perfect setting for “barbaric scenery” and “savage” costumes. Minturn stated the following in a newspaper interview, “If we changed the locale from Japan proper to some South Seas island...if we changed the costumes, the dances and even dared to tamper with the music by adding some primitive rhythms here and there—then there was some logic in it, then we had something to do for our Negro players.” What Minturn meant by “primitive” was the usage of the jazz genre; the rhythms of swing music. The article continues to showcase and detail the productions designs, costumes, syncopated alterations to Sullivan’s music, scene highlights, and alterations to original dialogue (“Does you want to know who we are? We is the gentlemen of Japan”). It was a great success in Chicago when it opened, breaking box office records, and running for 22 weeks at the Great Northern Theater.
Although commercial production offers were made shortly after opening (by Michael Todd), the government decided to capitalize on its Chicago success by moving it to New York. Once Todd heard this, he decided to make his own version, the Hot Mikado. Todd had the funds to create expensive costumes and set designs, not to mention afford top NYC actors from that time, unlike the government’s production. Todd did argue the government project was interfering with private affairs/business, but this challenge was not answered. Whereas Swing Mikado charged $1.10 per seat and swung just a few songs, Hot Mikado charge $3.30 and swung/altered the G&S songs throughout the production. Like the Swing Mikado, the Hot production was highly praised. Inevitably, the critics compared the two versions, and, almost unanimously, they agreed that the Federal Theatre's was livelier and more spontaneous, while Todd's Mikado was slicker, more handsome, and filled with better performers—and it swung from start to finish.
Sources:
Primary materials such as various versions of the scripts and scores, stage promptbooks and design notes, and vintage newspaper stories/reviews were used as sources by Vallillo. Reviews seemed to be the forefront of information pulled to sculpt an understanding of the stylistic differences and proper cast descriptions. Secondary commentary in relation to topics and sub-topics were also used in conjunction with scholarly interpretation.
Significance:
The relative success of the two productions shows the popularity of black entertainers at the time. While both shows used prevailing Negro stereotypes via white preconceptions and characterizations, both did reflect the variety of black talent that filled New York City and the country. Performers like Bill Robinson and Eddie Green from vaudeville, Edward Fraction from the Lafayette Players, Maurice Cooper from the concert stage, and the Lindy Hoppers from the dance floors of Harlem all showed off their talents in these two productions.