The Mikado

When Gilbert and Sullivan's The Mikado premiered in 1885, British society was enamoured of Japanese culture. Perhaps more than any time since, the present Western fascination with Anime and other Japanese social phenomena, means everything Japanese is popular again. With this in mind , director Mark Barford sets this Mikado in the world of present day Anime to explore present day local issus in a similar manner to the original production.

This production has cartoonish Ninjas, schoolgirls who look like friends of Sailor Moon and who are the epitome of "Kawaii" (cute), smart phones and selfies and messages coming via email to ipads.

Musically, this Mikado is excellent. Musical direction is top notch with outstanding singing and the beautiful sound of a 23-piece orchestra under the leadership of Ian Westrip.

James Berlyn is delightful in the central role of Koko, the Lord High Executioner. A top-notch singer and comedian, with excellent audience rapport. He is nicely supported by baritone Robert Macqueen as a perfectly pompous Pooh Bah. Koko's little list was up to the minute and included Lisa Scaffidi, Troy Buswell, FIFO workers and other great choices.

Richard Symons is a likeable, raffish Nanki Poo, who is nicely paired with Elsie Gangemi as Yum Yum, a sensationally sweet soprano.

Fleuranne Brockway shone as Pitti-Sing and added an extra "wow" element with her very strong unmiked voice after a microphone malfunction.

The program picture of Laura Pitts shows a stunning young woman, but she was wonderful as aged, ugly and cynical Katisha. Good support came from Emma Bussanich as Peep Bo and Lucien Fisher as Pish Tush.

Christopher Waddell was having a bad day in the title role. Though possessed of a glorious bass baritone, he was struggling for lines and the lovely pace established up to that point came to a crashing halt.

The ensemble was superb, the twelve men and twelve women were performers of very high quality and were well drilled vocally and choreographically.

Benjamin Franzen's choreography was precise, used patterns very effectively and was well executed.

This was a stunning looking production. Sara Churchill's set design was beautifully simple and quintessentially Japanese, while her costuming combined aesthetics with contemporary whimsy. Sound and lighting design were also excellent. Makeup design by Marion Peck was unusual, but ultimately effective.

A top quality modern interpretation of a delightful operetta.

Kimberley Shaw

Photographer: Andrea Evans