The Mikado (Reimagined as McAdo)

The unexpected warmth of the May evening was matched by the warm welcome from Trevor Allen, chairman of Eastbourne Gilbert and Sullivan Society and the smart front of house team at the charming Royal Hippodrome Theatre in Eastbourne. The premium quality programme was attractive and educational giving a fascinating background to Eastbourne Gilbert and Sullivan Society’s production of The Mikado re-imagined as The McAdo.  From the Chairman’s message to Vice Chairman Rowan Stanfield’s notes on the production, the programme created an expectation that this would be an attractive, humorous and unusual reworking of the Gilbert and Sullivan classic. The performance more than matched these expectations. Talented singers, a wonderful live orchestra, incredible costumes and careful sound and lighting blended beautifully under the skilful direction of Cate Couch to produce a visual and vocal feast. 

The set by Jonathon Statter and Michael Bale was simple but effective with a beautiful back screen suggesting a remote location possibly in the Scottish Highlands. The simplicity of the set enabled the performers to shine and obviated the need for frequent set changes which contributed to the fast pace of the show. Props too were relatively simple but they were used to maximum effect. For example, in the opening scene the company placed flowers around the executioner’s axe which not only looked pretty but it gently hinted at the stinging satire of British Victorian society which underpins The Mikado story.   

The production was confidently staged owing to a blend of clever direction, thoughtful lighting and mainly clear sound. Cate Couch placed the characters so that every scene looked balanced and interesting. Both the movement (including some delightful dancing) and the stillness (with no distracting fidgeting) appeared intentional and natural. The overall attractiveness of the production was enhanced by skilful lighting courtesy of Megan Stanfield. The entire stage was well lit and the subtle spotlight tracking of characters drew the audience’s attention to where the director wanted it to be.  

The costumes were outstanding. Having initially expected to see lots of kilts (the programme explained these predated the period in which the production was set) the characters wore a blaze of more beautiful and sumptuous creations. Tartan was simply draped across clothing to indicate the Celtic setting. The attention to detail was stunning, for example, Coco’s gold coloured shirt exactly matched the gold of his stockings and the piping on his trousers. The costumes coordinated beautifully across the entire ensemble; they fitted well and the characters looked comfortable in them even when dancing. Helen Morbey, Rowan Stanfield, Val Dormady and Mo Munday are to be commended on their vision and hard work. 

Gilbert and Sullivan’s musical score was elegantly delivered by a highly accomplished live orchestra. The range and richness of the music belied the fact that the orchestra consisted only of nine players. Their exquisite playing filled the auditorium complementing, but never competing with, the singers on stage. Under the musical direction of Marylou Cockshoot, the sensitivity of the musicians both drove and encapsulated the mood of the production. This was particularly evident in numbers such as ‘Willow, Tit Willow’ and the ever popular ‘Three Little Maids from School are We’. It is hard to believe that such finely integrated music and singing was achieved after minimal rehearsal time together. Cate Couch and Marylou Cockshoot are clearly highly talented individuals who should be proud of working together to deliver such a beautifully blended performance. 

The ensemble worked together enthusiastically to create a bizarre but believable world in which the principle cast operated. Without exception the ensemble had delightful voices, strong expression and a commitment to delivering their lines in a Scottish accent. Their responsiveness to direction was evident in both their singing and their dancing. Particular highlights were the opening scenes of both acts - ‘If you Want to Know Who We Are’ (Clansmen- Act One) and ‘Braid the Raven Hair’ (Pretty Jean and Clanswomen) in the opening of Act Two. 

Casting a woman as Nanky Drew was unusual but highly effective. Georgia Kyriacou with her delightfully rich alto voice totally convinced as the wandering minstrel and, as subsequently revealed, the son of the Mikado.  Yvonne Lloyd as Wynn Somme deployed her femininity as well as her soaring cut glass soprano voice to beautifully complement Georgia’s maleness. Together they portrayed an authentic couple whose singing was enchanting both separately and together. Their joint rendition of ‘Were you not to Coco Plighted’ was a particular highlight being full of richness and emotional resonance. 

Paul Eccles was a delight as Coco. His voice was smooth, rich and reassuring. Combined with his perfect costume, facial expressions and twinkling eyes he consistently drew out the humour of the production. Melodic and lyrical, he impressed as a talented storyteller utilising movement, dialogue and song. In particular his animated delivery of ‘I’ve Got a Little List’ conveyed the impression of a man who genuinely couldn’t quite believe his luck in being elevated from prisoner to executioner.   

Against the delicate and whimsical charms of the main characters and ensemble, Casey Dearing shone out as the formidable Katishagh. Her lovely open gestures, strength of movement and great sense of comic timing brought energy and contrast to this supposedly unattractive character. She had a vibrant singing voice and totally captivated the audience with her delivery of ‘There is Beauty in the Bellow of the Blast’. Her voice blended exquisitely with Coco’s as she firmly but amusingly made the important point that facial beauty is not everything.  

Paul Bailey-Smith gave an intelligently nuanced performance as the Mikado. His singing voice was velvety yet forceful and his spoken words describing the gruesome punishment of lingering death involving boiling oil were delivered with joviality and calmness. His subtle interpretation highlighted the absurdity of the entire situation and gave a satirical climax to the show. 

Monty Merrymead as Gotogh was delightful. Whether he was passing logs, participating in a tug of war or performing a nimble sword dance he consistently stood out in terms of his movement, singing and facial expression. Always attentive and reactive to the action on stage, he is clearly a young person with enormous talent and potential.   

The skill of the individual performers was unquestionable, but the overall impact of the show was ultimately a reflection of the hard work and attention to detail by those responsible for wardrobe, music, sound and lighting. All of these components were unified  under the expert direction of Cate Couch to produce a delightful, funny, brave and imaginative production.  

Thank you Eastbourne Gilbert and Sullivan Society for such an enjoyable evening. 

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