The Mikado

The SA Light Opera Society’s latest effort is a modestly scaled, but passionately performed  presentation of the perennial Gilbert & Sullivan favourite which, despite some odd rough edges, is likely to please fans of this songwriting team.

Production design is minimalist, but the few sets are painted in a strikingly detailed style by Monty Clements & Carolyn Adams, and together with the Cyndy Trezise’s boldly colourful array of costumes, The Mikado’s larger than life Japanese setting is vividly established.

All the principals are in consistently fine voice, and though the chorus harmonising is somewhat more uneven, what the ensemble lack in polish, they more than make up for in enthusiasm. There are also times when the choreography feels a bit too sedate, but the unpredictable use of various props (such as fans) to add dramatic emphasis to the delivery of certain lines does compensate for the lack of energy in the dance sequences.

Graham Loveday has wide eyed ingénue charm to spare, as lovestruck minstrel, Nanki-Poo and Stephanie Foy can disarmingly turn on a dime from precious sweetness to insufferable vanity as Yum-Yum. Together, the two make a winning double act.

But, as is usually the case with Gilbert & Sullivan, the supporting players steal the show. Damon Hill plays cowardly executioner Ko-Ko with an endearing laidback cynicism, and ad-libs some topical gags that had the audience in hysterics. David Roberts also has some memorably snarky moments as the multi-talented (at least in his own mind) official, Pooh-Bah. Robert Maher only has a few scenes in the second act, but is a suitably intimidating presence in the title role.

Musical Director, Helen Loveday, has arranged the score for a six piece ensemble. Ian Johnson (Violin), Stephen Jarman (flute/clarinet), Michelle Hassold (oboe), Mark Carnie (trumpet), Frank Stroud (cello) and Sue Penhale (Piano) perform the material with impassioned gusto and technical panache.

Now, to address the elephant in the room …  The Mikado is a divisive work, and any staging of it is likely to upset someone. This production is no exception. No attempt has been made to tone down the political incorrectness of the piece, so those who find the material to be an offensive example of “yellowface” in action should steer well clear of this, yet another production in which all of the principal roles are played by Caucasians. On the other hand, those purists who believe that it is wrong to change a single word of the libretto are also likely to be annoyed by the aforementioned ad-libbing of certain cast members and the fact that several songs have rewritten lyrics which poke fun at contemporary pop-culture juggernauts, such as Justin Bieber.

But all things considered, this production does more right than wrong, and those fans willing to approach it in a generous frame of mind are likely to have a fun night out.

Benjamin Orchard