The Mikado

This arguably the most popular of the Savoy Operas is performed many times in a year and can suffer from tiredness and familiarity. There have been a number of “new” versions performed by amateurs and professionals alike: some being particularly whacky. Consequently one is slightly apprehensive as to what style the latest production is to be staged. 

The experienced Directors decided to rely on Gilbert & Sullivan’s undoubted talents but did not fall into the trap of re-presenting nineteenth century moves and styles. As a historical piece a “prompt book” presentation can be very interesting if extremely well performed. Here it was decided to present the comedy as being relevant to the twenty-first century without detracting from the original brilliance.        

The re-writing of the various lists was extremely well handled. The modern references were in keeping with the originals and poked fun in similar directions. The poetry was in Gilbert’s style and fitted the music [not always achieved]. They were well presented with clear diction and sensible tempi so that it wasn’t a mere race with the orchestra but the comic references could be clearly heard by a predominantly aged (deaf) audience. Where much of the original remains pertinent to our time changes were not inflicted on the audience proving how “up-to-date” Messrs Gilbert & Sullivan remain.    

With simple settings and colourful costumes this presentation had the feel of a modern musical. The Musical Director kept tempi bright and effervescent giving the whole a bounce the audience enjoyed. Gilbert was insistent that the pace & rhythm of the dialogue should dictate the speed of the songs and that they should merge into one rather than the songs being separate entities. This was a seamless production with everything moving along at a bright but not too breathless pace.     

That this was a comedy was evident from the very beginning – no solemn presentation of the opening chorus here, but a bright introduction to the well paced presentation. The company work was well rehearsed and mostly accurate in presentation. Presented with confidence and sparkling eyes the audience could not help but enjoy. The creation of Pish Tush as a policeman with side-kicks (a touch of Aladdin’s Ping & Pong) certainly offered the Director and actors extra opportunities particularly as the side-kicks could move so well. It also saved the audience from un-necessary mass movement and reinforced the feel of a musical comedy. The spaciousness of the staging also allowed everything to be seen and there was no sign of overcrowding.

Singing was good throughout with some good harmonies displayed.  This was assisted by good articulation, a warm and supportive accompaniment from the pit and excellent sound enhancement. It goes without saying that Gilbert’s words should have an equal weighting with Sullivan’s score and here both were served very well. It is so much easier to follow the story when one can hear what is being said and sung.

The familiar characters were given full measure and the silly topsy-turvy storyline was clearly presented. Every member of the cast fully played a part in this inclusive production led by a Director who understood the libretto and an MD who loved the music. The whole presentation received excellent and unfussy technical support, there were some very funny comedic additions and this “good old show” was given a respectful but up-to-date presentation which was much enjoyed by the multi-aged audience. 

This production went on to win the Allan Brooking Cup for the best Gilbert & Sullivan Production in NODA South-West 2013.  

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