The Mikado

For those of you who haven’t been there, Stewartby is in the heart of what was once the biggest brick works in the world. As a result, the village hall is a monument to that once great industry, a fantastically well-constructed building with a Greek pillar entrance; a superb purpose-built stage and whether by accident or design a hall with extremely good acoustics. So for once and, I would venture to say almost unique in this day and age, orchestra and vocals that can coexist in perfect harmony without drowning each other out, and not an over ramped up microphone in sight. Bliss!!  Perfect for a trip back down memory lane into the Victorian age of W.S Gilbert and Sir Arthur Sullivan.

‘The Mikado,’ along with ‘The Pirates of Penzance’, is probably the most well-known and certainly the most popular of all the G&S  operettas, borne out by the packed hall and a fully engaged audience that turned out on a filthy night in mid-November to watch this colourful production.

The scenery by Hazel and John Daniels, in itself, was worth the visit. A series of white flats with black edged squares in typical Japanese interior design down each side and a couple of fabulous different style pagodas, offset with trees, a Japanese angler and flora painted on the rear flats. Absolutely superbly well done. If NODA had a best set design award this would definitely have been in contention. With well-lit and smack on cue lighting designed and operated by Richard Hull our set was in good hands.

Costumes were supplied by Harlequin Costumes in Baldock and they certainly didn’t disappoint either. All looked most colour coordinated and totally authentic for the chorus with some excellent variety for the leads. Nice job by Margaret Brown and Carol Urwin in choosing them. A mention of hairstyles (uncredited) has to be made as some were absolutely fantastic and a lot of trouble had been gone to with all sorts of extensions, jewellery, hairbands and trinkets to give a truly authentic Japanese look. Whoever was responsible please take a bow..?  

The orchestra conducted by the incredibly versatile and talented Musical Director Alana Thackray was again a top-notch outfit. I will admit to knowing and periodically working with Alana over the best part of the last two decades and this was her third different show in the last four weeks, having been involved with a music hall society at the end of October and been MD of another musical only last weekend! No peace for the best it would appear. Add to that 2 violins - Naomi Morris and Anna Norton, flute - Helen McKay, clarinet - John Cotton, oboe - Penny Norton, bassoon – Tessa Shepherd, horn – Kate Young, bass - Alan Grayer and keyboard – Edward Jones, and you had a perfectly balanced orchestra which as far as I could tell didn’t miss a beat all night.

When it comes to acting and dancing, SAODS keep their drama and choreography clean and simple, and in fairness it’s not really what they, or any G&S society for that matter are all about, it’s the singing that counts and they can certainly do that in spades.  Good old fashioned singing straight out to the front with simple step and kick choreography is perfect for G&S and quite frankly makes a pleasant change from watching choreographers outdoing each other with what you can do to contort the human body.

Chris Hodges as Nanki-Poo had this cheeky chappie style about him which seems to suit the role perfectly. Michael Webster’s deep booming bass voice was just perfect as the Mikado himself. I particularly loved the exchanges between Katisha (Linda Bowen) and Ko-Ko (Stephen Hoath).  There was some very clever updating of the libretto to make some witty commentary on modern politics, loved his eluding to the hairstyle of a certain ex PM! (As someday it may happen). Peter Davis with a great baritone voice nailed the comedy as Pooh-Bah or the Lord High of Everything Else. He kept me chuckling all the way through the show. Mike Cocke (Go-To), Sandra Buck (Peep-Bo) and Jessica Hallett (Pitti-Sing) all added to the humour and enthusiasm of this very experienced cast.

Several of the cast have been in this show several times and Carol Urwin, this time playing Pish-Tush, reckons she has played every soprano lead in the show and most of them twice so a lot of experience on that stage that showed through their confidence and was very much appreciated by the audience.  Great to see some youngsters fully involved with G&S and Bex Badham as Yum Yum, the object of Nanki-Poo’s desires is a great example, and she comes with a great voice as well!

And then we come to the all-important chorus, who certainly lifted the show a level or two. The only criticism I would make, please feel free to smile occasionally especially when you first come on stage, it has an uplifting effect on the audience and as many a choreographer has pointed out you can hide almost any mistake behind a big grin. Well done to Richard Bell, Margaret Brown, Hazel Daniels, John Epton, Jan Faulkner, Richard Hardwick, Jenny Jackson, Colin Jones, Juliet Jones, Margaret Magee, Lesley Mayston, Liz Walsh, Carol Wallman and Susan Wells. Great work all round.

So, well done indeed to Director Gordon Hodges and his cast and crew for first and foremost a great evening’s entertainment. A great deal of thought and hard work had obviously gone into this show.

It’s a rare treat to have this artform alive and kicking today and I’m particularly proud it’s in our district. It’s also a trip down memory lane for me, my father, not shall we say the most musical man on the planet, loved G&S with a passion, and I have fond memories of him shaving in the mornings humming the tune of Behold The Lord High Executioner. So thank you to SAODS for keeping that memory alive and for future generations to enjoy. Loved it!

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