Review: THE MIKADO Gets A New Look With Rich Characterisations

Reviewed by Barry Lenny, Sunday 8th May 2016

Co-Opera and the Gilbert and Sullivan Society of South Australia have joined forces to mount a production of one the most popular of Gilbert's and Sullivan's comic operettas, The Mikado. Co-Opera's artistic and musical director, Brian Chatterton, and long-time G&S director, Richard Trevaskis, are at the helm of this production, previously staged by Co-Opera in 2001, with the brightly coloured and cheerful design provided by David Lampard.

Co-Opera, that adds 'opera on the move' to its name, is a touring company that travels to regional centres and country locations, as well as the city and some suburban centres. They reduce the forces for each opera to the bare minimum, so there are no big choruses, and that is the case with this production. The orchestra is also kept to only what is really needed, with Chatterton at the piano filling in for all of the missing musicians. Far from sounding thin, it gives the performance a great clarity, allowing us to hear subtleties normally obscured by the large forces employed in the orchestra and on stage.

Trevaskis has also abandoned all of the coordinated fan waving, and other similar conventional approaches to staging a G&S performance, in favour of focussing on the story and the characters. He expects his casts to be able to act equally as well as they sing, and so we have three dimensional characters in this production.

The story of the Mikado's disguised son, Nanki-Poo, who falls in love with Yum-Yum, the ward and betrothed of the Lord High Executioner, Ko-Ko, needs no detailed synopsis. Pitti-Sing and Peep-Bo, Yum-Yum's sisters, Pooh-Bah, the Lord High Everything Else, the Mikado, his daughter-in-law elect, Katisha, and the nobleman, Pish-Tush, are familiar figures to all G&S lovers.

James Nicholson, as Nanki-Poo, is every bit the love-struck strolling troubadour, for whom all of the trio of school maids fall. Nanki-Poo is projected as every bit a refined young gentleman, hinting at his noble birth, with respect for the law, protocol, and duty. Nicholson is a fine romantic tenor, his voice alone placing him neatly in the role of the lover. He also has a good feel for the comedy of the role and manages to keep as straight face through all of the nonsense that ensues, taking it seriously, which makes it funnier.

The three little maids from school, Grace Bawden as Yum-Yum, Bethany Hill as Pitti-Sing, and Karina Jay as Peep Bo, present us with three very cheeky young girls who have an excellent line in harmonies. There is no suggestion of there being Yum-Yum and two other singers in the background. These three are all prominent and have developed individual characters, as well as showing those youthful attributes of seemingly boundless energy and a tendency to giggle uncontrollably, which has the audience laughing with them.

Bawden is as bright as a button in the role of Yum-Yum, girlishly enthusiastic, and ideal in the role of a young lady in love with, like the rest, a far more developed characterisation than we are generally used to seeing. She also has a marvellous voice that blends superbly with that of Nicholson.

Rod Schultz is solid gold as Ko-Ko, his pseudo cockney accent conjuring memories of a range of great British comic villains, such as Arthur Daly from Minder, or Dell Boy from Only Fools and Horses. His constant dodging and diving gives rise to great hilarity and, when he sings Tit Willow to Katisha, hold onto your sides so that they don't split from laughing too hard.

Eddie Muliau was a most notable Pooh-Bah, commanding the stage with his presence, and that impressive, booming voice, in spite of being affected by a very sore throat the effect of which was actually hardly noticeable, adding gravitas to the ludicrously self-important and avaricious top dog in Titipu.

Daniel Smerdon is theMikado, but not the all powerful and aloof ruler of Japan, a cardboard cut-out with a couple of songs, that we have come to accept as little more than the deus ex machina who sets all to rights. Serdon's Mikado is a real human being, with foibles and failings, especially an eye for the beautiful ladies of Titipu who constantly distract him from his high purpose, raising laughter in the process. This is a Mikado to whom we can relate.

Katisha is not the old and ugly woman that one normally expects, but one who is physically young and attractive. She is, however, overbearing, demanding, bitter, and angry, the ugliness coming from within, rather than externally. This is an interesting concept that allows the wonderful Sidonie Henbest to explore a new side to the role and, instead of sporting heavy makeup, we have a believable characterisation that, for once, makes perfect sense when a softer side appears to accept Ko-Ko's proposal, and gives hope that the two might actually have bright future together. Henbest draws on her wealth of experience working a several genres beyond opera to enable this to happen, being able to produce the purity of tone that suits opera, as well as belt it out, cabaret and jazz style. Trevaskis has shown a remarkable insight into this character in particular that changes so much, and brings this work into our modern world.

The other members of the company alternate roles at each performance and act as a small chorus at other performances, giving everybody experience in playing character roles. All are superb singers so there are equally good performances to be had whatever performance you attend.

David Lampard's set design is striking in its simplicity, and Joel Beclu's lighting design works wonders, giving the impression of major set changes with a minimum of time and effort. The company have become highly skilled at such ideas over the many years that they have been in existence yet still find a new trick or two.

There are only a few more performances in Adelaide before heading off to the last couple of performances in county centres, which will end this tour, so pack some food and drink, because the performances are presented in cabaret style with doors opening an hour before the performance begins, and book some tickets quickly before it is all over. Here is a little taste of the production for you.

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