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  • Sam

    The interesting result of setting The Mikado outside of Japan is that the producing company has no incentive to make efforts to cast Asians at all. If Ferocious Lotus had helped them with a production set in the original fantasy-Japan, they would have used more Asian-American actors. We have seen recent protests against The Mikado in Seattle, New York and San Francisco. This raises the question as to why the Asian-American community is not protesting the yellowface productions of Turandot and Madame Butterfly. Why does grand opera get a free pass to stage yellowface productions?

    • Actually, the Google search that led me here also showed me that the same perpetually offended groups are already heating the cauldrons for Turandot and Madama Butterfly. Grand opera won’t be left in peace for long.

  • Chris Whitehead

    This is a most interesting report and worthy of deep consideration. My question though is this. Are we now at the stage where it is unacceptable to maintain, for the sake of history, examples of how stage works were first performed? Mike Leigh’s film “Topsy Turvy” sought to do this I believe in the excerpts of Mikado included in that film.

    • A good question. Sadly, I think the answer is Yes. Even the supposedly well-educated seem to dislike having to immerse themselves seriously in the culture and attitudes of another time — even when, and maybe especially when, the past culture was an ancestor of their own.

  • Alan Potter

    I take it that only genuine Italians were allowed to take part?

    • Mike Schilling

      I asked Chico and he said “That’s-a right”.

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