The Mikado

Preston Gilbert & Sullivan Society has a long association with the Savoy operas, and this production of The Mikado showed both respect for the work and a clear willingness to approach it in a fresh way. First performed at the Savoy Theatre in 1885, The Mikado remains one of Gilbert and Sullivan’s best-known operettas. Its popularity lies in its wit and satire which, although framed within a Japanese setting, is very much aimed at English society and social convention. This production understood that well and built its interpretation around that satirical core.

For those unfamiliar with the operetta, The Mikado is set in Titipu, where flirting has been made a capital offence. Ko-Ko, newly appointed Lord High Executioner, is expected to carry out an execution despite being reluctant to do so. At the same time, Nanki-Poo arrives in disguise in search of Yum-Yum, only to find that she is engaged to Ko-Ko. From this point, the story unfolds through a series of misunderstandings, romantic entanglements and comic complications, all building towards the arrival of the Mikado himself.

Phillip Walsh’s vision for the production, with support from Beck Kay, was clear and well judged. By moving away from traditional Japanese costume and make-up, the production avoided some of the cultural insensitivity often associated with older interpretations and instead brought the operetta’s satirical intent into sharper focus. 

Setting the production in Preston Train Station proved very effective. From the moment the audience entered the theatre, they were placed in that world. Sound effects, tannoy announcements, screens showing train information and even station-style toilet signage all helped establish the setting. There were also characters moving through the audience before the performance, workmen examining parts of the auditorium, and cyclists arriving and crossing onto the stage after the action had begun. These touches were handled well and gave the production an immediate and contemporary feel. The audience was drawn into the world of the show before the operetta had properly begun, which strengthened the sense of involvement and made the setting feel lived in.

Pacing was good throughout, transitions were smooth and the energy of the piece was maintained. This matters in Gilbert and Sullivan, where the balance between spoken dialogue, music and comic timing needs careful control, and the production managed that balance successfully. The standard across the stage was consistently good, with everyone contributing to the overall success of the performance. Two particular standouts were Robert W A Feeley as Ko-Ko and David Twizell as Pooh-Bah. Ko-Ko is a role that requires strong comic timing, clear diction, an instinct for rhythm in the text and the ability to remain likeable while navigating some of the operetta’s most absurd situations. Robert W A Feeley handled these demands well, giving a performance that was controlled, funny and engaging. David Twizell also stood out, bringing authority and presence, along with the vocal and dramatic assurance needed for Gilbert and Sullivan performance. Both showed the precision and understanding of style that these roles demand.  Physicality was another strength across the cast. Performers were expressive and gave each character a clear identity, which helped the comedy and made the stage picture easy to read. For the most part, vocal projection was good. However, as there was no amplified sound, natural differences in projection between performers were noticeable. Some voices carried with real clarity, while others were harder to hear at times. Many Gilbert and Sullivan societies take pride in not using amplification, while that may reflect a valued tradition, in amateur theatre some support can help create a better overall balance and improve clarity for the audience. Professional opera singers train for many years to develop the technique and stamina needed to project consistently over an orchestra, and they maintain this through regular performance. In amateur productions, where performers may not have that same specialist training or vocal consistency, discreet amplification can be useful. The addition of a small number of choir microphones and boundary mics might have helped give even greater vocal balance to what was already a strong production.

The 13-piece orchestra under the direction of Rob Rainford was a major asset to the production. They played with style and assurance, and their presence added greatly to the atmosphere of the event. There is something special about walking into a theatre and seeing an orchestra in place, warming up before the performance begins; it immediately creates a sense of occasion and reminds the audience that they are about to experience live theatre in its fullest sense. That was certainly the case here, and the orchestra made a strong contribution throughout the afternoon.

The set was well designed and well built, and it played a major role in making the concept work. Phillip Walsh’s set design and construction, assisted by Peter Wright, created a believable station environment, while Ann Cooper’s scenic work and Selina Gregory’s signage added detail and helped complete the illusion. Some set elements extended beyond the main stage area, which helped draw the audience further into the world of the operetta. This kind of staging can reduce the sense of distance between audience and performers, making the action feel closer and more immediate. The wider stage construction team of Kevin Hesketh, Michael Stott, Sue Hurrell, Derrick Hurrell and Mike Bridges also deserve recognition for their contribution to a set that supported the production so well.

The costumes, by Sue Hurrell, Ann Cooper and The Boyz, were simple but effective. The ensemble wore coloured polo shirts which, from the audience, appeared to include the theatre group’s logo. This gave the chorus a unified look, although it created a contrast with some of the principal costumes that I was not always sure worked fully. That said, the costume choices did support the modern setting and the production’s move away from more traditional presentation.

Lighting was effective and did what it needed to do without drawing focus away from the action. In this type of production, that is often exactly what is required. The work of Alistair Milner and Stephen Porter on sound and lighting supported the piece well. The sound effects were particularly successful. The station announcements and ambient effects helped establish the location clearly, and even the pre-show announcement was delivered in the style of a train station tannoy, which was a nice touch and set the tone before the performance started.

For a matinee performance, the theatre was close to full, which suggested both strong support for the society and the continuing appeal of Gilbert and Sullivan. The audience was engaged and clearly enjoyed the performance, and the applause at the end showed that the production had been very well received. I was made to feel very welcome by Dr John Wilson, President, and by the front of house staff. That welcome was much appreciated and added to the pleasure of the visit.

Overall, this was a thoughtful and enjoyable production of The Mikado, with a clear concept and a good understanding of the operetta’s satirical purpose. I was full of admiration for the cast and creative team, because Gilbert and Sullivan is not an easy form of theatre to do well. It requires musical discipline, vocal control, comic timing, stamina and clarity of style. Preston Gilbert & Sullivan Society approached those demands with commitment and care, and the result was a production that was well received by its audience and rewarding to watch.

 

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