The Mikado

On the open stage a Japanese garden awaited the audience, the expertly-lit cherry trees and rustic seat creating just the right atmosphere, and as the overture progressed the female chorus made good use of gesture and movement to enhance the impression of Imperial Japan.  The naughty boy was an inspired addition and his appearance throughout the show was very amusing. The male chorus started slowly, but by the Yo Ho chorus there was greater energy and a more positive mood. 

Youthful romantic hero Nanki-Poo charmed us with his voice and acting ability, a real treat, and Yum Yum enchanted us with her sweet voice, pretty countenance and bright and lively performance.  Pish-Tush and Pooh-Bah were perfect foils for each other, Pish-Tush very sober and serious, an almost  introspective elder statesman, and Pooh-Bah definitely ‘born sneering’, his sharp, clear diction adding to his pomposity, although he can also gambol and sing effortlessly. The rock and roll Mikado was great fun, a larger-than-life Emperor with a cruel sense of humour and a little list which was bang up to date, amusing, clever and witty.  The scene in which Katisha appeared as an evil witch with her devilish sidekicks was particularly memorable and Nanki-Poo’s falls were very convincing.  Ko-Ko gave the most extraordinary performance, a perfect comeddia dell-arte character, we could read every thought in his face and body, finding passion and pathos, making the most of his ridiculous costume and fluid physicality.

As always with this director, all characters added context and texture to the show: the Three Little Maids were young and bright, making a lively (and sometimes tipsy) family group, with funky, contemporary moves and a novel madrigal; Jim-Jam and Flim-Flam, the two male servants were instantly characters in their own right and really looked the part in their pin-striped costumes with a Japanese twist; Tip-Top was a cheeky rascal who both made us laugh and delivered an accomplished stage-laugh of his own.

Live music makes all the difference to a show and the high standard of this orchestra is always a pleasure to hear, finding the perfect balance so that we can appreciate the instruments and voices equally. 

Technical elements of the show contributed greatly to the atmosphere, particularly the skilful lighting of the Japanese garden and seat, with dappled light and shade and the warmly-lit cherry trees. Make-up, wigs and costume all had the modern twist which suited this production.  The wine-pouring sequence and the use of puppets and a shovel were certainly novel and entertaining; the extraction of the ladies from the Mikado’s vicinity by their menfolk was both clever and practical.

Congratulations on producing this cheeky, irreverent production of a classic comic opera, entirely in keeping with the spirit of the original.  I look forward to seeing more from this director and this company.

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