The well sung, classically staged Lyric Stage production of “The Mikado” supplies plenty of trip down memory lane satisfactions.
Olympia Dukakis’ Prospera is no tough feminist deity commanding a tiny kingdom. She is at her best when she plays the character as a feisty, down-to-earth mother who wants the best for her daughter.
The issues raised by Mike Daisey’s infraction, his fall from grace, and now his return, are many, but chief among them is the privilege of illusion, the birth-right of the artist.
British playwright Alan Ayckbourn does not build gag machines that spit out one-liners. He creates finely etched characters whose humor is rooted in their befuddled behavior and personalities.
Mark Morris, no longer dancing, joined his company for the curtain call. He’s beloved here, a part of the contemporary dance scene in Boston over the decades as a performer, a choreographer for the Boston Ballet, a teacher, and an inspiration to a number of local performers.
To his credit, Boston Ballet’s artistic director Mikko Nissinen is looking far and wide for ways to expand the company’s repertory.