The Mikado

Many thanks for inviting me along to see your production of Gilbert and Sullivan’s  ‘The Mikado’ performed at the St Leonard Church, Penwortham on 28th May 2022. This was my first experience with anything Gilbert and Sullivan and with no expectations. I truly enjoyed the evening and am now looking forward to experiencing more works of G&S and operettas in the near future.

The production was staged inside the church, which is unaccustomed for the society as their normal performance space was unavailable. This was a brave decision to take, and I believe, it enchanted me even more towards the work that was performed. The church provided great acoustics to the musical work created and I loved that the natural lighting through the windows was not blacked out, meaning the audience were lit with the performers. It all provided a great ambience to the show.

Direction was provided by Lucy Bunce with assistance from Stan Pickles. I believe they achieved some great work with the production, which was both accessible to newcomers, like myself, and G&S fans. The staging was kept minimal, but I don’t think it needed anymore as the music and lyric was more than enough to deliver the storyline (with a little help from the blurb in the programme (thank you to whomever provided that). For most of the production there was a simple stage created at the front of the church which is where most of the action occurred, with a back stand which gave off an oriental flare. Throughout the performance the male and female chorus members were sat either side of the stage facing towards it. This was a nice touch to the performance and was interesting to watch the chorus watching their peers throughout. What was also nice about the performance was the use of the alley ways between the seating. Lucy cleverly paraded the entrances and exits through the audience in good time with the musical breaks. One thing I would note to all performers, what ever space you are in, and however the lighting is, remember that is your stage. I did see a couple of waves to friends during these promenades which broke the magic a little for me. It would have been so strong to have all marching in character throughout these moments.

Musical Direction was provided by Margot Wright who led the performers and 2 key players. I must say I was mesmerised by the sounds that were created throughout the performance, both vocally and with accompaniment. As the overture played, the lights shining through the windows and nothing on stage to watch, the audience were transcended into listening to the intricacy of the work. This quality was retained throughout and the mix of harmonies and balance were blended well. Whomever was hitting those phenomenal high soprano notes at the end of the production, I fully commend you.

Costumes were simple yet effective. All were wearing Komodos of sorts, which fitted to the narrative. All performers were made up, again with an oriental suggestion. There were some good use of props, some which added elements of humour, such as the rainbow umbrellas and the enfolding list.

Performances were of a great standard, but most notably for me was the community feel to the production, with representation from many generations and equal representation across the sexes. All performers looked to be enjoying themselves and brought good energy to the production.

The Mikado of Japan was played comfortably by John Stopford who delivered some good vocal work and charisma to the role. His son, Nanki-Poo was delivered by Chris Dodd, who provided us with a solid performance and had a wonderful tone and vocal range. Playing opposite Chris was Hilary Wilby, playing Yum-Yum. Hilary's vocal ability is great and she really shone in this role. Together, Chris and Hilary created some lovely moments onstage and some funny moments achieved, such as using the fans to hide the kissing moments.

Ko-Ko was played by Tony Alman who delivered some impeccable comic moments throughout the show, as well as some ingenious ad libs. These moments of relief made the show more digestible for a newcomer to the work, so thank you for that. There were a few bumbles of lines and moments clarity and dicton could have been sustained, but overall a great performance and nicely characterised.

Philip Walsh and Martin Cassell had great stage presence and vocal ability playing Pooh Bah and Pish Tushy and offered additional comedic moments. Petti Sing and Peep Bo were played by Caroline Stewart and Becky Dyson, who produced great characterisations and vocal work, and a sensational rendition of 'Three little maids from school are we" with Hilary. There was a great connection between the three in this number, it was one of the highlights for me.

The attendants were played by Oliver Edwards and Emily Chadwick. It which was great to see such young cast members performing in operatic works such as these. I really hope they enjoyed performing with such a great cast, and both carry on being advocates of these works!

Katisha was played by Amy Hardy, who really mesmerised me throughout her performance. She delivered some outstanding controlled vocals amongst semi-hammy, yet utterly convincing characterisation, and she commanded the stage every time she was on. Congratulations to you Amy, really great work!

Overall this was a really enjoyable and interesting production and I am looking forward to seeing more of what this society produces.

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