The Mikado

“Virtue is only triumphant in theatrical performances,” (so says the Mikado – Act 2). Perhaps he should have added, “Especially in the Stuart Maunder State Opera production of The Mikado”. It is a delight for the eyes and ears!

Set in a world of Asian/Western fusion with an abundance of ‘Hello Kitty’ and lollipop colours, this production is a shining example of how to update a G&S classic without removing the traditional elements, i.e. Gilbert’s words and Sullivan’s music.

Almost farce-like in structure, The Mikado centres on Nanki Poo, the son of the Mikado, in hiding and in love with Yum-Yum, the ward of Ko-Ko, the Lord High Executioner of Titipu. Unfortunately Katisha, an elderly member of the Mikado’s court, is enamoured with Nanki Poo. How true love triumphs abounds with the typical Gilbert and Sullivan twists and turns.

There is so much to praise in this production. Stuart Maunder’s concept brings new life to this well-worn classic. The traditional gags are still there but given a new slant and a new setting full of mobile phones, Japanese businessmen, iPads and blonde kewpie-doll chorus girls. His direction is tight and utilises the vast Festival Theatre to its best advantage.

Simon Kenway’s orchestra gives us the lush resonant score; Sullivan would be impressed. With clashing gongs, deep bass drum beats and soaring strings, we are transported at times to ancient Japan and at other times to English operetta. As always, the Adelaide Symphony Orchestra excels.

Simone Romainuk’s set design, coupled with Donn Byrnes’ lighting creates a free-flowing series of scenes with rotating Japanese house modules, white garden benches, cherry blossoms, giant ornamental fans and an amazing neon grid. My personal favourite was the setting and lighting for Katisha’s “Alone, and Yet Alive” from Act 2.

Siobhan Ginty’s choreography is clever, quirky and eminently suited to this new version of The Mikado. She has cleverly choregraphed to the performers’ abilities without compromising her conception.

Pelham Andrew’s Mikado maintains the dignity required but adds little touches of flamboyance and just a touch of camp. His voice is rich and the new lyrics to “My Object All Sublime” are hilarious.

Dominic J. Walsh’s Nanki Poo is the epitome of what a modern wandering minstrel could be, complete with his own merchandise. His voice is one of the best I have heard in this role and his portrayal adds unexpected humour.

Amelia Berry’s Yum-Yum is every inch the leading lady. She has a glorious voice, particularly in “The Sun Whose Rays are All Ablaze”, and an infectious sense of fun that quickly endears her to the audience.

Traditionally played by a more portly actor, Andrew Collis’ Pooh-Bah certainly possesses the vocals to give Pooh-Bah the dignity needed, however his characterisation of a self-obsessed nobleman did not always deliver the laughs intended by Gilbert.

Bethany Hill’s Pitti-Sing is full of the fun that the role needs. She has a rich voice and a clever sense of timing and delight. Her sassy sidling up to Mikado after “The Criminal Cried as He Dropped Him Down” is a riot.

Elizabeth Campbell’s Katisha channels Cruella de Vil in Act 1 and Dame Edna in Act 2, with just a hint of bondage. Her voice soars over the chorus in Act 1 and gives us a touch of heartbreak in her aria in act 2.

Nicholas Cannon’s Pish Tush makes a well-rounded character of a role that is traditionally easily forgotten.

Charlotte Kelso’s Peep-Bo is cuteness personified and adds another dimension to the three little maids.

The undoubted star of the production is Byron Coll as Ko-Ko. With a combination of ‘Mrs. Brown’s Boys’, the banter of a pantomime dame, along with a Scottish accent, he dominates the action with a perfect sense of timing, hysterical lyrics to “I’ve Got a Little List”, an effortless use of adlib and an abundance of energy. His portrayal is the best this reviewer has seen and I have been involved with G&S since 1978.

There were a few slight opening night glitches, but I am confident these will be corrected by the next performance.

The Mikado proves once again that Opera SA are bringing opera to the masses and are doing it with style!

Barry Hill

Images: Soda Street Productions