The Mikado
WS Gilbert and Sir Arthur Sullivan
Directed by Keith Strachan
Take Note Theatre Ltd for Tabard Theatre
Star rating: 4
Photography: Matt Hunter
I have probably seen more productions of The Mikado than any other show with the possible exception of Macbeth: fifty or so (and counting) in both cases, at least one every year or so, since childhood.
And I have long come to the conclusion that I prefer my beloved G&S done small scale than with the traditional big choruses. A number of companies are now doing this and it works a treat because you hear every word and every harmony. Take Note Theatre’s very enjoyable The Mikado uses an exceptionally talented cast of nine, two of whom are accomplished actor-musos.
Nanki-Poo is, of course, the son of the Mikado disguised as a second trombone in the Titipu town band. Here he is reworked as a second trumpet and Nicholas Curry is the first Nanki Poo I’ve ever seen who has the instrument strapped to his side and plays it very well, initially for in-character effect but thereafter as an occasional part of the orchestration. And it’s a casting tour-de-force because he also sings his tenor part beautifully and brings a delightful youthful innocence to the role.
Tilly Godwin – who has a soaring, immaculately accurate and admirably lovely soprano voice – more than matches him as giggly, simpering Yum Yum, pert, pretty, pleased with herself but hilariously pragmatic when it comes to the problem of being buried alive.
Fed Zanni, wearing an outrageously loud striped suit (costumes by Eliza Podedsta) is one of the best Kokos I’ve ever seen. He communicates with his very expressive eyes and the comic timing in his Little List song, complete with the now de rigueur topical rewrite, is a masterclass in comic timing. So is his take on Tit Willow which he sings as if he is desperately inventing it as he goes along. Moreover, it will be a while before I forget the prancing glee he gets into Here’s a How-De-Do
Other highlights – in a show which has lots of them – include John Griffiths as the titular Mikado, singing that famous song with gravitas and then inviting the audience to join in the chorus. Martin George is terrific as the sneering Pooh Bah and it’s fun for Erica Flint to double her ensemble role with playing flute both side stage and on it.
Otherwise the music is ably provided by MD Annemarie Lewis Thomas stage right on keys, holding everything together with her usual skill. The imaginative arrangements are, I gather, the work of the director, Keith Strachan. Among other things I really liked the use of harpsichord mode to accompany the madrigal, Brightly Dawns Our Wedding Day.
The reason this production works so well is that Strachan evidently trusts the material. We get lots of Gilbert’s original dialogue and, when delivered as well as this, it is still very funny. And the few changes he makes are clever: “late running District Line trains” instead of “parliamentary trains” in the The Mikado’s song, “Gentlemen of Respect” instead of “Gentleman of Japan” in the opening chorus and some English words for Mi-ya-sa-ma, for instance. Also neat is the simplicity of the set which comprises a painted townscape and one versatile wooden bench.
Definitely one to catch if you can. Whether you’re a seasoned G&S aficionado (guilty as charged) or a first timer, there’s something for you here. And, of course, I sang all the way home and so will you,
