Cheeky and jovial, director Jonathan Miller’s The Mikado brings a nostalgic and light-hearted air to the London Coliseum. However, The Mikado feels somewhat out of place in contrast to the introspective works that have dominated the rest of the season. Although it is satire, perhaps it could learn a thing or two from Emma Rice’s feminist take on Orpheus in the Underworld. Despite being younger than the Offenbach operatta, The Mikado at times feels old fashioned, but the piece is chock full of laughs, melodrama and exceptional music. With outstanding performances from an evidently tightly rehearsed cast, this production has made the best use of the presence and power of the chorus this season. Richard Stuart’s utterly fabulous depiction of Ko-Ko is the stunning centre-piece of this production, and it is worth seeing just for his absurdly extravagant portrayal.
Set against the backdrop of a 1930s hotel in Miller’s production, the Mikado was originally a satirical take on British politics but, in order to circumvent the laws on free speech, Gilbert and Sullivan set it in Japan. The opera is set in the fictional town of Titipu, where Ko-Ko has been promoted to the position of Lord High Executioner, and intends to marry Yum-yum (Soraya Mafi), who does not reciprocate his affection. Nanki-Poo (Elgan Llye Thomas) arrives and declares his love for Yum-Yum, much to the annoyance of Ko-Ko. The Mikado, commandingly depicted by the bass, John Tomlinson, has ordered an execution, and Ko-Ko has to find someone before it is his own head on the line. Despite the quite frankly offensive names, the opera is a genuinely funny and enjoyable satire, taking on the corrupt judicial establishments of late Victorian Britain. This production takes aim at the corrupt dealings of current public figures, and relates them to the ridiculous depictions of the establishment figures in the piece, Pooh-Bah (Andrew Shore), Ko-Ko and the Mikado himself.
In Richard Stuart’s incredible characterisation, Ko-Ko was both blithely charming and intently self-serving. His ‘little-list’ song, is rewritten for each performance and satirises current affairs. Indiscriminately taking aim at all parts of society, in this performance, his criticism ranged from disruptions caused by Extinction Rebellion, to Trump’s despotism, from PC culture to the incompetence of the Duke of York. Although this makes the show relevant, and pleasing satire, it is clear there is no explicit political message. There was no correction of the stereotypes, and at times they felt woefully out of date, particularly with the shrill and occasionally underdeveloped female characters. This is however, a revival production, and it has been thirty-five years since the show’s premiere. Although very enjoyable in a light-hearted way, it cannot bear the deep analysis that has been applied to the other shows in this season at ENO.
The stage design was a particularly impressive aspect of the performance. Designed by the late Stefanos Lazaridis, the kitsch cream walls and ornaments provided enough backdrop to create atmosphere without the stage feeling overcrowded. The back of the stage slanted quite drastically, meaning interactions with the back of the stage were hilarious in their own right. The position of the set meant the back half of the stage was cut off, meaning ensemble pieces felt fuller and livelier, and solo performances felt more intimate. In all the set was a complete triumph, and in tandem with the costumes, designed by Sue Blane, which created the nostalgic atmosphere that was essential to the success of the piece.
No discussion of this piece would be complete without acknowledging the tremendous work of the orchestra, the ensemble and the conductor, Chris Hopkins. In order to pull off a piece of this magnitude and acclaim there has to be significant cast cohesion, not only with the main performers, but also with the ensemble. It was good to have the fullest stage so far this season, allowing there to be more cohesion between the dancers and the singers. Fabulous ensemble spectacles have been somewhat lacking from ENOs most recent performances, but the Mikado brings them back in full force, with a high kicking chorus.
What was clear about the performance of the Mikado was that the cast were having almost as much fun as the audience. Although a bit out date, the piece is scrumptiously enjoyable, everything one could hope from a contemporary take on a Gilbert and Sullivan opera. It is a wonderful homage to the late Jonathan Miller, and love for the piece and its director shone through all of the performances.
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