The Mikado

King’s Lynn 1954, 1961, 1968, 1978, 1985, 1993, 2003, and 2012 The Mikado is the most enduring of Mr Gilbert and Mr Sullivan’s titles, and yes …. The West Norfolk G and S have some previous when it comes to performing it. But what matter that I hear you say, and I say PIsh-Tuch … bring it on.

Andrew Nicklin had passed the baton to Director Pat O Connell but Musical Director Michael Hankinson remained in post. That suited me fine as I took my seat at the condemned Guildhall of St George (insert own Yeoman Of The Guard reference here). I was once again delighted that it was pleasantly full, and dare I say, the average age of the audience looked to have fallen to somewhere near 50 !. A recent NODA prompted, Guildhall based meeting at my house had allowed me the enormous pleasure of meeting West Norfolk G and S Chairman Brian Turner for the first time. Son of the local performing legend (he must he heartily tired of hearing that) Stan Turner, Mr Turner (junior) was absolutely charming, as well as sincere and committed to all things am dram in King’s Lynn. I have so much respect for this group, and,  having declared last time out I was actually starting to enjoy the medium, I literally could not wait.

The story … is frankly preposterous.   Nanki- Poo is the son of the Mikado (Emperor of Japan) and has run away from court to avoid the un-solicited advances of the cougar Katisha. Disguised as an itinerant second Trombone, he has returned to Titipu (no really) and is reunited with his first love Yum – Yum (no really) Unfortunately the maid in questions is betrothed to Ko-Ko the Lord High Executioner and can’t really get out of it. The lack of executions in Titipu has alarmed the Mikado who announces that he will visit the town forthwith.   If no executions have been actioned, it will be reduced to the status of a village which will upset Pooh Bar, who, in classic EU style, holds a large number of executive positons and the accompanying salaries. Unable to properly wed his love, and in return for a month of bogus marriage Nanki Poo agrees to be the executioners victim to appease the Mikado. From here on in folks … it’s all gibberish…  but enormously good fun 

The set (Paul Lazell) was just the job. It didn’t say so, but it looked hired in. That was not important as it once again made the Guildhall’s minimalist facilities look enormous. The single set change removed the need for under rehearsed, but well-meaning, people in black swamping the stage every time the lights went down.   The costumes (The Costume Store) were perfection. Incidental properties (Liz Kershaw, Ros Ridley and Caleb Kershaw) were everything they needed to be and I would take a moment to mention that prompt (Gill Hiles and Debbie Bennett … and yes I have just worked out the relationship) were completely superfluous.    Wigs, hair and make-up (uncredited ) were all of a very high standard even if Mr Torr’s wig started heading for the bar a scene or two before he did.

 The chorus consisted of all the usual suspects …and they all seemed to having a great time. As I have noticed previously, the song words were better known to some than to others but the overall delivery that reached the position in the audience where I was embedded, sounded pretty good to my untrained ear. Once again I was captivated by Jessica Abbott who always seems to stand out from the crowd.

Because of the even distribution of lines, songs and centre stage time, It is difficult, with this title to decide who is the supporting cast and who are the principles. However, in what I, personally, would consider to be the supporting cast Su Widd was on top form as Maid from School Peep-Bo (No really!)   Always working hard and singing in very much the same way. The same can most certainly be said of enchanting Freya Brunton as the other of Ko-Ko’s wards Pitti-Sing. She barely opens her mouth and the most powerful and beautiful of sounds fills the auditorium without (it seems) her even trying. An endearing, comic, performance helped enormously by the most sultry eyes in local Amateur Theatre.

I have to admit I was not expecting local amateur troubadour Richard Abel to pop up on this stage in this production, and wondered if he had been parachuted in as a replacement for someone. The reason for his presence is completely immaterial as he produced one of his best performances as the Mikado. He sang, he danced, he had not finished his make-up but …..he danced and he did it frightfully well !

What can I say about Julie Bjerregaard (that’s 34 in Scrabble) other than , once again she is worth a paragraph to herself. That woman never stops acting and delivered another unforgettable characterisation as the dangerously predatorial Katisha, a woman rejected by Nanki-Poo and looking for revenge. Her singing voice is remarkable but her comic timing and stage presence …. Beyond compare.

In the more prominent roles I was once again in awe of Sharon Cutworth as femme fatal  Yum –Yum.   She sang and acted to a very high standard and, although perhaps more Further Education than a maid from school, was perfection.   Just recently Andy Hiles always seems to be in the right part and as Pish-Tush (a Noble Lord) he was bang on the money. His voice was omnipresent and his characterisation could not be faulted. I think that Pooh-Bar (Lord High Everything Else) is the comedy role in this piece, but as soon  as I saw that it was to be played by Andrew Masterson … there could be no other outcome.   His make-up gave him an uncanny resemblance to Mr Spock (Vulcan of this parish) but his delivery of the comedy lines was flawless. That man can get more laughs from a raised eyebrow than most performers can get from a 2 minute stand up.   It has to be mentioned also that his singing voice has the most incredible resonance that makes your internal organs vibrate in a most disturbing way.   He looked good, he sounded good and I found myself whooping when he took his bow.

I have no idea where Lawrence Thackeray came from. I suspect he is not a King’s Lynn man but other than that … Once again I say Pish-Tush, it matters not because as Wandering Minstrel and undercover son of the Mikado Nanki-Poo, Mr Thackeray was sublime    His singing voice can only be compared to honey being poured over Raspberry Ripple ice cream and he never, … never, ever missed a single note.  On top of that he looked the part and gave this provincial town an expert performance of a romantic lead part.

And so, the penultimate paragraph must .. simply must …go to inspirational John Torr.   A master class in .. well G and S frankly. His little list was so topical it gave him two frights in Its execution (pun intended).   So up to date was its conception I wondered if he had been handed it as he went on stage,   His delivery was excellent and whilst a contemporary  list is the traditional way to go .. this list actually fitted the music.   Aside from all that he was so watchable in this production that I found myself staring at Mr Torr even when Freya Brunton was on stage …. I shall be seeking medical advice.

This was G and S at its best.   My only remaining dilemma concerns Director Pat O’Donnell.    My compliments go to him and all of his team for a brilliant production.   The technical Direction could not be faulted in its construction but lacked innovation.   This is as much a compliment as it is a criticism because, as I understand it,  if you are old school G and S you don’t like all this new-fangled mucking about.   But after the Sorcerer (and yes I know I promised I would never mention it again).   I thought there was more to this type of production. What can I say about Musical Director Michael Hankinson?    His 13 piece ensemble (and yes I did see you there on the French Horn Derek Oldfield) was outstanding, delivering the sort of musical accompaniment that a production of this standard deserved.    Well done West Norfolk G and S …. A cracking performance with the most remarkably talented cast.    Must be the Gondoliers next!

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