The Mikado

I am a huge fan of taking a production and putting your own stamp on it. The Mikado is the ideal vehicle for this to take place. Having already been produced in a 1920s Black and White version and updated into the zoot-suit wearing Hot Mikado, director John McCrae set this in the very British town of Titipu – on – Sea. This allowed for a superbly fitting red/white and blue staging with many topical jokes and references. 

The cast as an ensemble worked incredibly well and gave us a very solid and secure performance throughout. The singing was of an impeccably high standard accompanied by the beautiful sounds from the orchestra ably led by Diana Whybrow. Choreography by Courtney Jones was exuberant and added a real sense of fun to this production.

Alice Martin was well cast as Yum-Yum the beautiful, if slightly self-absorbed, ward of Ko-Ko. Her effortless singing, especially during The Sun Who’s Rays, coupled with obvious disgust and horror at the thought of being buried alive resulted in a most delightful performance. Chris Chedzey played Ko-Ko with enough physicality it was as if he was channelling the Keystone cops. His comic timing was appreciated by the audience and Tit-Willow was pure childlike bliss.  Yum- Yum’s suitor Nanki-Poo, who is concealing the fact that he is actually The Mikado’s son, was played by Craig Dacey. I felt at times his characterisation wasn’t always secure throughout but you certainly couldn’t fault his singing which was an absolute joy to listen to. The Madrigal which he performs with Yum-Yum, Pish-Tush and Pitti-Sing was simply stunning. Wendy Wiltshire appeared to revel in her role as the mad, jilted lover Katisha bringing her own style of “Iron Lady” to the role. Her solid and tempered delivery worked very well against the natural exuberance of the rest of the cast.

As well as having an excellent group of principal players without exception, CAOS is renowned for its wonderfully strong ensemble and choral singing. The end of Act 1 was a perfect example of this with the fabulous harmonies coming through strongly. The orchestra too was well balanced and supported the company very well indeed. Good diction is vital in G&S and this was evident throughout this production. Superbly “British” costumes, rewritten topical lyrics, a giant railway train for the “little ladies” to arrive in secretly concealing the talent “3 little maids” and a host of extra characters from the fantastic group of dinner ladies to boisterous dancing sailors to an interfering vicar made for an innovative and entertaining evening in Titipu – on – Sea.  Many congratulations to the cast, production team, technical and stage crew and all involved in making this such a professional production.

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