The Mikado

Among the most enduringly popular of the Gilbert and Sullivan operettas, The Mikado has received an enjoyable, intimate production at Chatswood’s Zenith Theatre.

Though low budget and non-professional, this is an evening marked by great enthusiasm, and some impressive talent and experience.

Director Elizabeth Lowrencev delivers a bright, entertaining production.

A simple single set effectively indicates that we’re somewhere in traditional Japan – represented by screens and an archway – a logical choice for the compact Zenith stage. Traditional costumes and wigs complete attractive stage pictures.

Compact and intimate, Savoy Arts Company productions are a snug, comfortable fit for the intimate, fan-shaped Zenith auditorium. Unamplified voices project easily.

Not so compact however, is the orchestra. There’s no compromise on accompaniment, with as many players as you can fit across the narrow, curved stage opening.

On a larger stage, in a larger venue the small chorus of Gentlemen of Japan would be dwarfed, but here they are a nice fit, though occasionally portions of their harmony can be slightly thin. Add the slightly larger ladies chorus, and the stage seems pretty full. The ensemble work is enthusiastic and well executed.

Most performers are well up on Savoyard interpretation – those little inflections and nuances, and the pointing of the humour so important to G & S – not to mention plenty of those good old-fashioned values of diction and projection.

Carl Olsen’s Pooh Bah, for instance, nails the pompous, self-important humour of the character, throughout, making the most of every moment the script offers.

As Nanki-Poo, such an archetypal G & S tenor role, Brendan Iddles nails an effective, relatively traditional interpretation.

Leading lady Samantha Ellis delights with her knowing, porcelain doll interpretation of Yum-Yum, and a true sweet soprano.

Rosie Clare Shorter’s cheekily nuanced Pitti-Sing is an altogether engaging little maid from school.

Veteran Basso Profundo Graham Tier brings an ideal voice, stature, manner and interpretation to the title role of The Mikado.

Of all the Gilbert and Sullivan comic roles, Ko Ko is probably open to the widest range of interpretations. Dean Sinclair’s Koko - fruity, pouting and self-important - is a surprising, entertaining spin on the role, which draws a warm response from his first entrance.

Katisha is double cast in this production. Opening night performer Belinda Delaney gives a thorough, detailed interpretation, though she lacks the sort of sheer dominating presence to command moments where it is so necessary, especially the act one finale.

Don’t mistake me for a stick-in-the-mud traditionalist when I say my major criticism is about lyric re-writes. I love a sharp, satirical re-write, but something approaching the wit, relevance, precision and scan of Gilbert’s originals, please. I’ve Got a Little List and A More Humane Mikado, music by Sullivan, lyricist unknown, draw their share of laughs, but there are some pretty weak updates intermingled. A balance between the original and contemporary, with the best of both worlds incorporated, would be preferable.

A pleasurable evening with an enduring theatre favourite.

Neil Litchfield

Photograph:Miriam Tier