THE MIKADO

THE MIKADO

Opera della Luna at the Civic Theatre Chelmsford

31.03.2014

for The Public Reviews

The Mikado was always a fashion statement. All things Japanese were the rage in 1880s London, and Liberty's, no less, dressed the original production at the Savoy.

So absolutely appropriate that Gilbert's tale of the cheap tailor turned executioner should start in a sweat-shop, complete with treadle sewing machines, and feature gorgeous frocks, designed by Gabriella Csanyi-Wills. Katisha's Act Two creation, Yum-Yum's gowns and Koko's Gaultier-inspired kilt especially eye-catching. The sets, too, are stylish to a fault, with shadowy topiary figures for the Act II garden.

Jeff Clarke's witty and inventive re-imagining includes countless enjoyable details, as does the choreography of Jenny Arnold, who has also directed this revival. The opening sextet, the “schoolgirl photoshoot” - very Japanese, this – the tocsin Madrigal, the exhausting encores of the gardening trio, the tap-dancing finale to Act One, all come up fresh and funny.

Opera della Luna's Seven Savoyard Samurai do excellent work with their characters – John Griffiths is the Northern shop steward Pish-Tush, as well as a lugubrious Mikado, with his crime and punishment ditty updated to include graffiti artists, HS2, Jeremy Kyle and [un-named] Wynne Evans, whose skills would probably fit well into this company, if WNO could only spare him … Koko's lost lists now include the SNP as well as the aromatherapists. He's played by Richard Gauntlett, rather as Joe Pasquale might tackle the role, if he had the voice. Physically very funny, with lots of adlibs [“wake me up before you Koko ...”], designer costumes including that kilt, but a playing a mercifully straight bat for Tit Willow. Martin George - “born sneering” is an imposing Pooh-Bah, changing hats and robes to emphasise his multiple functions. The three little girls include Celena Bridge's beautifully sung Yum-Yum, Nichola Jolley's Pitti-Sing, and Louise Crane, sole survivor of OdL's first Mikado tour in 1998, as a lively Peep-Po and a formidable, elegant Katisha.

Sullivan's music is made over, too, with a clever reduction which features some amusing oriental percussion, but there are excellent straight vocal performances here, notably from a dashing Christopher Diffey as Nanki-Poo. And Katisha's two serious solos are beautifully crafted by Crane.

Opera della Luna's next G&S tour is to be The Gondoliers, opening in May.

this piece first appeared on The Public Reviews

THE MIKADO

THE MIKADO

English National Opera at the Coliseum

30.01.13

Twenty-six years since this stunning visual delight first hit the Coliseum stage. Catching it again this week, I'm pleased to report that it's lost none of its idiosyncratic charm; the fruits of Jonathan Miller's polymath fancy still come up fresh and witty.

Even before we see the gorgeous 30s décor in black, white and cream, it's clear we're in for a treat: the ENO house band, under David Parry, give the overture a sparkling performance.

This umpteenth revival is in the safest of Savoyard hands. Richard Suart, whose 13^th different revival this is, is on fine form as Koko, a sporty, sneaky politician [his Little List hustings name-checked Russell Crowe and "religious misogynists", amongst many other victims], who never lets us forget his plebeian roots. Seasoned Scottish Poohbah Donald Maxwell – "born sneering" – is a strong presence, and Yvonne Howard, though far too glamorous for the awful Katisha, sang her parlour song beautifully, accompanied by a new, unheard character, her pilot/ pianist/PA/passionate admirer [David Newman].

Loved David Stour's dour northern bore of a Pish-Tush, too, and Mark Richardson deputised gracefully for the Mikado of Richard Angas [who created the role in the first Miller outing].

Mary Bevan was a charming Yum-Yum, though her pleasingly mature vocal quality rather belied her schoolgirl looks – her jolly second-trombone suitors was Robert Murray, who gave us a lovely Wandering Minstrel.

And let's not forget the chorus [the men superb in their opening "Gentlemen of Japan", the women in an impressive coiffure curve at the top of Act II] and the domestic staff of this grand hotel, the dancers who tap their way into the Act I finale to such splendid effect.