The Mikado

For those who don't know the Mikado - in Titipu (Japanese Town), Nanki Poo, the son of the Mikado has fled the court to escape marriage to the noblewoman Katisha. Disguised as a wandering minstrel, he returns to Titipu hoping to marry Yum Yum who herself is engaged to her guardian, Ko-Ko (recently promoted to the role of Lord High Executioner)

The Mikado decrees that an execution must take place to satisfy the law, but Ko-Ko doesn't want to behead anyone. Enter heartbroken Nanki Poo, putting himself forwarded to be executed with the promise of a month's wedded bliss.... As is usual with Gilbert and Sullivan, all manner of tangled webs and intertwined stories are unravelled amongst lots of singing and dancing, with everything all turning out alright in the end.

Laurence Hanson Diamond played the Wandering Minstrel. After a nervy start, Laurence brought energy and a pleasing tone to his role, confidence growing throughout the performance.

Laurence was buoyed by Alice Helm's charming, warm and beautifully sounding Yum-Yum. Alice's diction and tone were excellent throughout, with a real understanding of the role- from eye rolling and lash fluttering, through to wittily delivered irony, Alice had it all. Alice was ably supported by her other two maids from school, Pitti-Sing and Peep-Bo (Juliette Beston and Angela Towers).

In the role of Ko-Ko, David Towers delivered an energetic performance with a memorable, very topical rendition of “I’ve Got a Little List”, peppered with references that ensured laughter and knowing nods from the audience- this number is always a highlight of The Mikado, and this production was no exception.

Brian Lancaster managed the layered pomposity of his many titles with expert timing as Pooh-Bah, Lord High Everything Else, with Iain Lamb as Pish-Tush providing solid support to all going on around.

Jo Worton as Katisha commanded attention with her characterful presence and vocals, balancing pathos and humour in equal measure. 

John Reid, as the Mikado was every inch the majestic presence required, relishing every syllable of Gilbert’s deliciously absurd text.

Vocally, the cast impressed across the board, with clear projection and crisp diction ensuring that even the most rapid patter was never lost to the rafters, the chorus were well drilled and diction perfect throughout, no doubt Musical Director David Tattersall had fun whipping them into shape.

Considering I have performed in two productions of The Mikado, and seen at least half a dozen, I had never seen it presented in black and white, with a Art Deco-esque vibe. It presented a refreshing change, without ever distracting from the piece.The black and white backdrop had a good sense of perspective, and was, of course,complete with the requisite seagull perched perfectly in place, a charming detail that drew smiles before a note was sung. 

The lighting was tasteful and well-judged throughout, highlighting both the facial expressions that make G&S such a delight to watch up close.

The orchestra, under the baton of David  was excellent — a true strength of the production. The players maintained a deft balance with the singers, never overwhelming but giving the score an energy that kept the evening flowing briskly.

Direction by Chris and Jo Worton was thoughtful and unfussy, making good use of the compact stage while maintaining the clarity and sparkle that The Mikado demands. 

The intimate setting proved to be an ideal match for this perennial favourite of the G&S canon, allowing both the humour and the wit of the piece to shine through.

All in all, this was a joyful and well-crafted evening of operetta lovingly presented, musically assured, and warmly received. Staveley’s Mikado proves that even in the smallest of village theatres, the spirit of Gilbert and Sullivan continues to soar - seagull and all.

Thank You Staveley Amateur Operatic Society, for your invitation.

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