The Mikado

“The Mikado”  is the most often performed of all Gilbert and Sullivan operettas. In truth it contains little that is authentically Japanese, but is full of sly digs about the state of English society and politics in the late nineteenth century. It is recorded that when a Japanese ambassador to the UK, who had expressed a particular desire to see for himself how G. and S. had interpreted Japanese society, he emerged delighted from the theatre, somewhat relieved that it said nothing at all but he was highly complementary about the production.

No matter how often one watches “The Mikado” such is its strength that it never fails to surprise and entertain in equal measure.It is packed with memorable melody and incisive lyrics and is a visual treat too with the colourful Japanese costumes adding allure to  audiences enjoyment. The opening song was delivered with panache by the Chorus of Men. All five of these remained inscrutable throughout.  Andrew Lyons gave a fine performance as Pooh-Bah, pompous and morally detached. Pish-Tush, Tony Alman, enjoyed his role immensely. Incidentally none  of the characters’ names bear any relation to anything remotely Japanese. Chris Cross has a fine voice. He used it to good effect beguiling us with his party piece “A Wand'ring MInstrel I ''. As Um-Yum Deborah Thew was delightful. I particularly enjoyed her effortless ability to successfully soar high above the rest in the chorus numbers. A notable feature of this show was just how well the entire cast were enjoying themselves. A happy cast means a happy audience.Tony Lewis is always a pleasure to watch. He made a wonderful Ko-Ko, relishing the opportunity to successfully sprinkle his interpretation with cunning bits of comedy.The ladies chorus added so much to my enjoyment of this piece. Authentically dressed and full of verve they added significantly to the production's success.Irene Kennedy, Amy Bell and Heather Nicholas as Pitti-Sing, Peep-Bo (see what Gilbert did there?) and Katisha contributed fine performances. 

David Slater has my admiration for ensuring  this century old satire can still cut the mustard.  Along with the excellent musical direction of Chris Walker and marvellous scenery by the ever reliable Eric Parkington, this was a G. and S. for the way we live now.

P.R.M.

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