The Mikado

Gilbert and Sullivans' The Mikado was given a whole new lease of life by Saddleworth Musical Society. Director and Producer Anita Stuttard presented her audience with an original and humorous version of this well known operetta whilst maintaining the traditional G&S integrity.  

Even though they were faced with problems involving a change of venue, then issues resulting in a lack of orchestra space, therefore reducing a 13 piece orchestra to 3, Anita gave her audience a slick and thoroughly entertaining show.

Working the stage to its fullest extent the 21 strong black clad chorus were cleverly seated towards the rear of the stage. This opened up the front for the principles to move freely around. I particularly liked the choice to seat the chorus. Having the chorus on stage the entire time is no easy task, but the chorus remained unobtrusive until they were required rise or react. Whether this was forced due to the change of venue or a conscious move it worked really well.

I thought setting the show in the 1920’s was an inspired idea. The vibrant, over the top dapper men and bejewelled flapper girls that were the principles, stood out against the black of the chorus. 

With minimal set, a projection each act taking up the back curtain, no set changes and a simple bench for the principles to use the show was allowed to run continuously, no gaps or pauses. 

Even the pre show announcements had the audience laughing as they settled into their seats, a clever little touch repeating all announcements in Japanese that appealed greatly. For a show beset with the aforementioned issues, Anita got the most from her cast and crew and the audience loved it. 

Andrew Exley opened the show as the noble Lord Pish-Tush. Striding on in his country squire shooting togs proclaiming to be Japanese in a Yorkshire accent Sean Bean would be proud of, Andrew had the audience giggling straight away. He had quite a few silences when other principles were on stage but he didn’t break his character once. With powerfully rich notes Andrew held his own vocally and produced some beautiful sounding harmonies. A well rounded comic performance. 

Martin Bradbury played Nanki-Poo, a royal prince disguised as a minstrel. With a cheeky demeanour and a twinkle in his eye he crooned his way around the stage as only a minstrel can. At ease with his character Martin delivered some great asides with many humorous facial expressions. With some powerful solos and wonderful harmonies Martin looked to be enjoying his role immensely. 

Steve Miller played Pooh-Bah. This is a complex role as Pooh-Bah is the Lord High everything - from Archbishop to chancellor of the exchequer and many roles in between. Dressed in his best top hat and tails he exuded authority and gravitas, with a generous amount of pomposity thrown in for good measure. Steve gave us a strong performance with a solid stage presence and some cleverly crafted comic moments. His deep bass was the rumble of authority and fitted his character to perfection.

Bounding onto stage came the Lord High Executioner himself Ko-Ko. Guardian and soon to be husband to Yum-Yum. Vince Bowers was perfectly suited for this role. With boundless energy and some masterful comic timing, he had added little touches that he then took full advantage of much to the audiences delight. A funny, well conceived interpretation of Ko-Ko, his rendition Tit Willow had my daughter giggling out loud. 

Deborah Thew played Yum-Yum, the love interest of Nanki-Poo and intended wife of Ko-Ko. Deborah gave us a performance full of effervescence and levity. Hitting some amazing high notes and singing with clarity and feeling. Charming, funny and looking stunning in her costumes she was perfectly suited for this role. 

Yum-Yum is attended by her two sisters, Pitty-Sing, played by Jane Reynolds and Peep-Bo, played by Alison Bradbury. Both Jane and Alison gave their characters their own personalities. As Pitty-Sing Jane gave us a faithful sister following Yum-Yum around and getting mixed up in her dramas whilst as Peep-Bo Alison vied for attention and showed us sibling rivalry. Two very different characterisations that melded well yet bounced off each other. The trio of ladies singing Three Little Maids produced some great harmonies, their voices all complimenting each other perfectly. 

Alison Starrs prowled onto the stage as the ‘cougar’ Katisha, the intended bride of Nanki-Pooh and the reason he is in hiding. The role of Katisha is rather imposing and Alison took this to its fullest extent. Exuding a cruel twisted exterior in public, Alison’s beautifully sung lamenting solos gave us an insight into her characters complexity. Brilliantly funny especially in her scenes with Ko-Ko, Alison had a huge stage presence and also looked stunning in her costume.  

Ian Ball as The Mikado completed the cast. Ian reminded me of puppet master in his boater and barbers style jacket. He deftly pulled the strings on his subjects and had them quaking with fear. Authoritative yet looking dapper, Ian cut an impressive figure, jauntily lording it over all his subjects. Confident in his solo he entertained everyone whilst looking like he was having a jolly good time. 

Musical Director Alasdair Gordon and his 3 piece orchestra were tucked unobtrusively into the flats side stage. Alasdair had obviously spent time with his cast and chorus. There were some amazing harmonies from everyone. I always like it when you can hear every word clearly, no mean feat with a G&S operetta, some of the songs are rather fast paced and have multiple lines being sung in unison and the music complimented the singing rather than overpowering it.  As disappointing as it must have been to lose majority of his orchestra, Alasdair and his 3 musicians did themselves and the show proud. 

Sound for the whole show ran smoothly with no hiccups and was mixed to just the right amount of vocals to music.  Lighting was kept quite simple with no unwarranted effects, picking up the relevant action and directing the eye of the audience.  As mentioned earlier the show was set in the 1920s with costumes provided by The Boyz and Millgate Costume team and was completely in keeping with the era. With some humorous costume changes for Ko Ko thrown in, all the cast were dressed perfectly.

I would like to thank Saddleworth Musical Society front of house team for making me feel so welcome and the society as a whole for inviting me to review your show. 

Dawn-Marie Woodcock

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