Now surpassing 140 years of success, Gilbert and Sullivan’s The Mikado has been irresistible fodder for amateur and community theatre groups, as well as schools and opera companies since its premiere in 1885.
As a fitting comic gem to mark Gilbert and Sullivan Opera Victoria’s (GSOV) 90th anniversary – an impressive milestone worth celebrating – Arthur Sullivan’s sparkling melodies and rhythmic verve, together with W.S. Gilbert’s sharp-witted and chucklesome libretto, coalesce delightfully in a new production directed and choreographed by Andrew McGrail.
The Mikado tells the story of Nanki-Poo (Lachlan McIntyre), son of the Mikado (Phil Elphinstone), who disguises himself and flees to Titipu to escape an unwanted marriage to an overbearing ‘daughter-in-law elect’ Katisha (Lynlee Williams). He falls in love with Yum-Yum (Cindy Liu), who is betrothed to and one of the Lord High Executioner Ko-Ko’s (John Parncutt) three young wards. Ultimately, following a string of amusing absurdities, true love prevails through astute manipulation of the law and tradition.
Set in the fictional Japanese town of Titipu when feudal Japan had given way to industrial progress, the opera cleverly satirizes British bureaucracy, justice and class structure using an exotic setting to critique Victorian society. It often requires a modern twist.
Not uncommonly done to suit a contemporary audience to bring satirising attention to the current state of things, Gilbert’s text is fired with a few observations that comically range from Erin Patterson’s murderous mushroom poisoning horror to the mocking of Gen X and Y with Ko-Ko’s Act 1 As some day it may happen (Little List Song) its pedestal highlight.
McGrail illuminates the setting’s changing world thoughtfully with Act 1 depicting the platform-only railway station in the isolated town of Titipu, where the story’s colourful characters are generally seen arriving and departing on a single yellow railcar. It’s a simple but effective device matched with Susan Marshall’s exquisitely presented costumes of men suited in a mix of European and Japanese style and women in semi-formal Hakama that honour McGrail’s transitional vision.
Conjuring a beautifully rendered walled garden featuring a painted mountain backdrop in ink-washed kakemono style and dainty splashes of blooming sakura, Act 2 embraces the traditional as it opens with Yum-Yum’s friends preparing her for her rushed wedding to Nanki-Poo. Marshall’s costumes are a spring treat and Patrick Hill’s lighting is at its subtly handled best.
In contrast to Act 1’s sometimes sagging comic timing and a small men’s chorus that could do with a little more oomph – the women of the chorus on the other hand show everlasting radiance – Act 2 certainly sailed along with greater cohesion in timing and choreography.
Ideas including the use of men’s canes to both mimic rifles and marionette cross bars in Act 1’s Our Great Mikado, virtuous man and the introduction of a picturesque arched bridge and hand-held bird for Act 2’s On a tree by a river (Willow, tit-willow) form examples of McGrail’s creative approach. What couldn’t be fathomed in McGrail’s overall seamlessness, however, is Katisha’s arrival in a modern shinkansen.
In the pit, the more than 20 musicians played excellently at Thursday’s opening night under conductor John Ferguson, who provided commendable vivacity balanced with fine-drawn tenderness where needed – only after what seemed a concerning number of shapeless opening bars in the overture. Played with curtain down, it appeared emphasised by a missed opportunity for McGrail to engage the audience from the get-go.
Despite some mixed results, the cast keeps the machine running admirably. Liu’s giggling, sweet-voiced Yum-Yum is an infectious treasure, as are her fellow wards Katherine Stewart (Pitti-Sing) and Hayley Jobson (Peep-Bo) – their Act 1 Three little maids from school are we an effervescent joy signalling a welcome change of pace.
Despite a tendency to overwork the head voice at the expense of vocal richness, McIntyre imbues Nanki-Poo with appealing warmth and sincerity. Confidently outlined and sung, his combined chemistry with Liu’s Yum-Yum shines through, notably in Act 1’s romantic and heartwarming Were you not to Ko-Ko plighted.
Peter Hanway nails the spoken dialogue wonderfully while cutting a toffee self-important Pooh-Bah – a dapper figure of a man of multi-hatted appointments – and does a half-decent job vocally. Williams’ blustery and stormy presence as the elbow-desirous Katisha is accompanied by a meaty dark contralto that elevates proceedings.
Elphinstone puts a truckload of swagger into his performance as the commanding Mikado, Nick Sharman is reliably solid as the noble lord Pish-Tush but it is Parncutt’s tirelessly elastic and entertaining Ko-Ko who binds the whole performance as he channels a charmingly youthful Pee-wee Herman comic character with stage aplomb.
McGrail gives much to savour in this anniversary production and there are plenty of reasons to join the GSOV family in celebrating their long history promoting and sharing Gilbert and Sullivan’s quintessentially quirky, buoyant and insightful works.
The Mikado
Alexander Theatre – Monash University, 48 Exhibition Walk, Clayton
Performance: Thursday 17 July 2025
Season continues to 20 July 2025
Bookings: www.monash.edu
Queenscliff Town Hall, 50 Learmonth Street, Queenscliff
Performance: Saturday 26 July 2025
Bookings: www.trybooking.com
Stawell Town Hall, 63 Main Street, Stawell
Performance: Saturday 2 August 2025
Bookings: www.trybooking.com
Berninneit Theatre, 91-97 Thompson Avenue, Cowes
Performances: 9 – 10 August 2025
Bookings: www.trybooking.com
For more information, visit: www.gsov.org.au for details.
Images: Gilbert and Sullivan Opera Victoria presents The Mikado – photos by Torquil Syme
Review: Paul Selar