The fact that this is one if not the most popular of all the Savoy operas can lead to complacency by performers and the production team alike. That is a warning that should come with every script and score because if it goes unheeded-and I have seen it happen on numerous occasions even a classic comic opera like this one can bite the dust. From the opening bars of the carefully played overture to the final bows that was never an option with this production. The business prior to and continuing through the overture starting with Ko­Ko conducting his preparations for his wedding were rather laboured at times but because of their inventiveness were always interesting. Finally the curtains had to be closed on proceedings to allow the stage to be made ready at the end of the overture for the first scene. This rather negated some of the work that had gone before. Which begs the question could either have some of the business have been performed in front of the curtains or alternatively the preamble have been done in such a manner that the scene could be set during it and by the overture would be ready to move straight in to the beginning of the performance.

For all of that when the set was revealed it was a splendid affair with its bridge over a central arch and two step rostra stage left and right. The director must have almost squealed with pleasure at the sight of so many options offered by all those levels on stage. The seventeen man chorus were arranged to make a striking first picture and an equally good last picture. The sound that came from this picture frame as they sang ‘Gentlemen of Japan’ was completely up to the visual standard. The costumes, hats and wigs enhanced the players but I was not completely convinced about the principally black background to the set. Because of this the only areas above the bridge and through the archway reflected freely the finely planned lighting plot. You can argue, of course, that the colourful costumes showed up well against the black and that this was an excellent contrast to the second Act setting. Whilst conceding these points I still feel that that amount of completely black area on stage was not a great aid to the visual effects within the production.

Whoever had the idea director or/and choreographer to block Ko-Ko’s path in ‘Behold The Lord High Executioner!’ with sixteen men lined up across the front of the stage can take a bow. Thanks to good discipline from the men and Ko-Ko’s persistence this gag worked a treat. Ko-Ko’s fine grey costume and head-dress could be seen time after time to good effect in this number. Another plus were the modernised words for the little list song, education, teaching, kids, Walkmans, reality TV, Beckham and Victoria, local planning affairs and the Prime Minister were all introduced in a true Gilbertian manner.

Costumes and make-up scored heavily with their work for the Geisha girls, those white heavily rouged faces topped with either fringe and pageboy or traditional hairstyles helped to present the girls completely in the right style. Those red, black, wide waist banded costumes with trousers just above the ankles for ‘Three Little Maids From School’ were another success for the wardrobe team. A particularly nice arrangement beautifully played by the orchestra added to the enjoyment of this number immensely. Such supportive playing must have given all the singers concerned immense confidence.

One of the very few complaints about the work of the expert lighting team was the number of shadows cast onto the back of the set. We could also have done with a stronger more definite light isolating Katisha when she first took over the central position on the bridge. This is an important moment in which you can underline her stature and power within tile Mikado’s Court. The opportunity was not completely taken. The way in which the freeze, which came shortly afterwards, and the ‘He’s Going to Marry Yum-Yum’ as a whole was lit completely winning back any Brownie points that the lighting team had lost earlier. Right through to the end of Act One their work fully enhanced the production. And this good work by the lighting team continued when we saw that well planned tableau which opened Act Two. The lattice work and flowers and that fan shape above the archway plus a lovely set of colourful costumes set up this Act perfectly. The choreographer then made fine use of the central acting area with those holding and working with parasols occupying the stairs and bridge. The orchestra once again came to the fore with their perfectly balanced accompaniment to ‘The Moon and I’. The stage team combined with lights to ensure the Mikado made an entrance befitting his status. Just enough smoke came billowing out from behind the screen before the light changed to red as he was carried in.

More new good Gilbertian rhymes in ‘Let the Punishment Fit the Crime’, amongst others Fame Academy and Des O’Connor getting a mention as they may well have done had the rhymes been written by Sir William ‘Schwenck’ Gilbert himself. The chorus who had worked exceptionally well all evening not only making beautiful elaborate patterns but providing some first rate vocal input to the production became a little over-eager on one occasion and that was while we were listening to the duet between Katisha and Ko-Ko. There was plenty of time for them to make their entrance for some reason or another I could see quite a few of them gathering just off stage and I wondered why they were in such a hurry. In all fairness to them I will grant you that I was sitting on the outside aisle on the right hand side of the audience and, therefore, had rather a good view straight across stage into the wings. When they did appear they formed a lovely background as Katisha and Ko-­Ko made up their quarrel.

The combined work of the backstage teams ensured that the production looked good and flowed smoothly. Vocally the ensemble work was strong supported by an orchestra of high quality who were a pleasure to listen to on their own account. The director and choreographer married dialogue and movement skilfully together ensuring that we had the best of both worlds. It was also good to find that vocal power was not sacrificed for movement nor movement restricted in order to ensure that the singers were not inconvenienced. In other words this was a true team effort that produced a full colourful, entertaining presentation of a much loved work.

THE MIKADO OF JAPAN

This role always reminds me of that of Alfred P Doolittle in My Fair Lady. Extremely important it has one of the best numbers in the show ‘Let the Punishment Fit the Crime’ just as Doolittle has ‘With a Little Bit of Luck’ and ‘Get Me To The Church On Time’. Both roles also have excellent but limited dialogue coming into only a couple of the scenes in the two productions. You can make a real mark in this role without having to take on the major responsibility of carrying the bulk of the show. That imposing well lit and staged first entrance set you off as did the costume on the right course. There was not always quite enough authority in the playing to back up this image and here a larger more often used fan would have helped. I am not sure who actually originated the business of the large fan cutting off that ferocious laugh like an executioner’s axe but certainly both Darrel Fancourt and Donald Adams, two of the best Mikados in the second half of the twentieth century, used it to great effect. First class work by the chorus joining in the forced laughter and where appropriate the music helped your first scene tremendously. Here was also another place where the orchestra with a good steady beat made a strong contribution.

I can’t remember the Mikado saying ‘Come down’ in Gilbert’s original script but it fitted the situation perfectly on this occasion drawing the ensemble down to the stage and around Ko­Ko so that he had the ideal target to sing his story of the execution. Some nice stage dressing appeared at this time on stage right of banners with a red dragon on a black background held by two stalwart minions of the Mikado. I may have questioned this ruler’s authority earlier on but as the story progressed aided by a lovely sly sense of humour which came through in your delivery and body language there was no doubting that you had a created a man much loved and just slightly feared.

NANKI-POO

One of the legacies left by the long years during which Doyley Carte held the copyright of the Savoy operas was certain characters being so firmly established in one style they became almost fixed in stone. One such role was that of Nanki-Poo probably mainly because of the number of tenors who felt that they had to slavishly follow Nevil Griffiths who spoke his dialogue with the same ‘sing-songy’ Welsh lilt that he used to sing the role. As a result Nanki-Poo was almost always played as a rather effete ineffectual young man. Without so much as a slight nod in Griffiths’ direction you imbued Nanki-Poo with far greater masculinity. Whereas played the old way Nanki-Poo and Yum-Yum’s relationship grows principally along comic lines yours had a far greater sense of reality about it and was none the worse for that. Your singing voice, not the oft heard high tenor, had the right timbre to go with this strong personality.

Perhaps it was no surprise that such a man would make little of the ‘mollified rapture’ line and later in Act Two rather throw away ‘Yum-Yum in tears’? The first duet with Yum-Yum underlined that she was happier towards the top of the range than you were. But importantly it also strongly established the romantic relationship between you and this was to stand both characters in good stead as the story progressed. When you kissed in front of Ko-Ko there was a real sense of love in the air. You showed your ability to combine extremely well with others in the trio with Yum-Yum and Ko-Ko. The definite tone of voice fitted admirably into this rather more dashing than usual portrait of Nanki-Poo.

KO-KO

The release of the restraints put upon players during those many years in which Doyley Carte ruled every production of Gilbert and Sullivan operas opened the door for new inventive comic playing. It also deprived people who played roles like Ko-Ko of a strong base comedy supplied by those well loved comedy routines that were guaranteed to receive a strong reaction from the audience. In the present climate you have to work harder than many of your predecessors and you did not shirk that challenge. You worked well with Pooh-Bah both verbally and vocally creating a productive partnership. That masterful double take after Nanki-Poo’s line ‘trust me she will never know the truth from me’ was a lovely piece of mime comedy. The ‘go on don’t mind me’ as Nanki-Poo and Yum-Yum became more and more romantic was a good piece of well timed spoken humour. Unlike the ‘married men never flirt’ line, which was way off mark and not surprisingly had only modest response from the audience.

In a very short time you were back into top humorous gear with the ‘I’m Going to Take Lessons’ sequence discussing your prospective execution of Nanki-Poo. There was just the right hint of insincere over-playing in your pleading with Katisha for her love. ‘Tit-willow’ is a classic comedy song laced with just the right amount of pathos. It. therefore, needs little adornment especially with someone like yourself who could and did sing it so well. The added movement during the number I found intrusive and not a help to a musically first class presentation. The combination of voice and movement in the duet with Katisha which followed fitted the music much better and you made up your ‘lovers’ tiff’ in excellent style. Apart from those few minor irritations this was a performance that was always pleasing to the audience.

POOH-BAH

Pooh-Bah can trace his ancestry back to that globule somewhere at the beginning of mankind and should never lose that haughtiness which was with him even when he is pleading for his life with the Mikado. You looked the part striking excellent poses. The character was taken fully into the vocals but on more than one occasion you dropped your voice to create an effect at the end of a phrase and became indistinct sometimes all but disappearing altogether. There were some lovely ‘corny’ dance steps as that early number moved from the centre stage to the bridge. The movement around you from the full girls’ chorus was good as was the sound that they made. This was a good illustration of a place where vocal presentation was not sacrificed to movement. It is unusual to see a Pooh-Bah so involved in a chorus number as you were here especially one who showed that you were enjoying yourself. You firmly gave this impression which ensured the action did not jar. You certainly left us in no doubt that you were enjoying Ko-Ko’s discomfiture and allowing yourself to be bribed. A first rate piece of comedy timing emerged from you and you responded with ‘no that’s true’ to Katisha’s exclaiming that remarks about her being beautiful were not true. Here indeed was a Pooh-Bah who left us with the impression that no matter what position he found himself in he would always deep down feel that he was rather superior to those who were around him and that’s as it should be. To do this, of course, you need someone who is at ease not only within the character he is playing but in his whole style of presentation and here we had an actor with that capability.

PISH-TUSH

In some ways you could describe Pish-Tush as a mildly Pooh-Bah, he may not at this stage in his life have the same feeling that he is completely superior to those around him but you get the feeling that he is working on it. As such you cannot afford to in any way stand or move in any way which is not going to give us the impression that you were someone of high quality. Therefore that position when the hands dropped onto the hips on several occasions really was not in keeping with the character that you were creating. Not that you were creating a nasty man, you were creating somebody who had a great deal to offer those around him particularly the delectable Pitti-Sing. Vocally you do not have the opportunities that some of the other characters have to show off your voice but when you were allowed into the numbers or given solo lines most certainly here was somebody who fitted admirably into the musical picture.

Your greatest problem, of course, is showing that the character is always strongly before us in spite of the fact that there are very few moments when you are given the focal point of a scene. When you had a meaningful line as in ‘by no means let us thoroughly enjoy ourselves’ before the quartet then you certainly made good use of them. Your Pish-Tush left us with the feeling that here was a man who could be quite a ‘wheeler dealer’ local politician and certainly had the eye for the main chance. If Pooh-Bah and Ko-Ko did fall foul of the Mikado I have a feeling that the strong character that you had presented would most certainly be there in the wings working to not only pick up the pieces but to make the most of his opportunities just as you had done throughout the production.

YUM-YUM

It is always nice to have a good entrance into any play or musical and certainly ‘Three Little Maids From School’ gives you an ideal start within this show. It is nice to find that we had seven extra Little Maids From School there to help dress the stage and give that little bit of extra boost to the vocal when it was needed. I think that is probably expressed badly because

it was never really needed because the three of you Pitti-Sing, Peep-Bo and yourself certainly presented the number extremely well on your own. The kiss business with Ko-Ko was nicely done setting up that relationship from the first moment that you came together. Once Nanki-Poo appeared on the scene of course there was a slight change in your attitude and with the orchestra in top form to back you up you made your mark immediately in that first duet with Nanki-Poo. The only thing that seemed out of place at this time was the manner in which you walked. The costume and the way in which you sang and delivered the dialogue were all perfectly in keeping with the traditional Yum-Yum. However you strolled across the stage in the manner of a modern young woman and it just did not fit with the picture you were placing before us. And that picture became even lovelier when you appeared in the opening of the second Act with the wardrobe team serving you extremely well here as did the orchestra when you came into your solo ‘The Sun, Whose Rays Are All Ablaze’ and the lighting team as between all of you this really was a very beautiful part of the production.

The balance between the orchestra and yourself for ‘Moon and I’ was ideal. You showed that you were quite a dab hand at comedy also in the manner in which you reacted when you learnt that there was a possibility of having a rather ‘stuffy death’ if you were going to marry Nanki-Poo. Some nice light hearted movements too in the trio which followed between yourself, Ko-Ko and Nanki-Poo. Apart from that tendency to rather stride around the stage with the confidence of a modern young woman here was a Yum-Yum that was thoroughly enjoyable from beginning to end both in the way in which she delivered her dialogue and the enjoyable way in which the numbers were sung.

PITTI-SING and PEEP-BO

I place these two together not because they particularly work off one another as a partnership but really because you have to underline that here are two girls that within the story are virtually on the same level but in the way in which the roles have been written one certainly has many more opportunities to show off her talents than the other. When we first meet you, you both looked ideally well dressed and presented by the wardrobe team and you more than adequately pulled your weight in the ‘Three Little Maids from School’ number. As the story progresses and Katisha appears both of you are there rallying the troops as it were in defence of your friend Yum-Yum but it is Pitti-Sing who has the opportunity to lead the music in ‘He’s Going To Marry Yum-Yum’. And we have a Pitti-Sing with a good strong voice and presence to go with it. It is all too easy from this moment on for Peep-Bo rather to disappear altogether and not become a very definite character but this was not going to happen in the hands of an actress who was determined to keep her concentration and without upstaging anybody ensure that we knew that there was another definite character on stage. It is Pitti­-Sing again who gets the lines with ‘takes the top off it’ and ‘cut short’ lines, which were expertly timed. Peep-Bo, therefore, has to rely enormously on her reactions to what is going on around her and what is being said and throughout the entire evening you could never take a glance in her direction and have the feeling that she was thinking of what she was going to have for supper rather than remembering what her character was and maintaining it throughout.

Like Pooh-Bah and Ko-Ko Pitti-Sing had her opportunity to describe to the Mikado about the ‘delicious’ death of poor Nanki-Poo and took the opportunity here as she had with other little pieces of dialogue or vocal with both hands. These were two strong contributions to the production both of which knew exactly where they fitted into the storyline and exactly how much responsibility they should take in their respective scenes and did so without ever encroaching on anyone else within the scene. As such they can both be described as great assets to the production.

KATISHA

One of the most imposing characters ever to be written in comic opera Katisha has to make a very definite impression from the very moment she walks on stage and never once did we get the impression that anyone is going to be able to upstage her throughout the production. Between make-up and the wardrobe team with that headdress most certainly you looked the part on that first entrance. I felt, therefore, that the director should have you left for a longer period making a very strong pose in the centre of that bridge to ensure that we took every details of you in at that moment and you commanded the whole stage for a longer period from that dominant position. Vocally you were always in command of the role although it probably would have made life easier for you had your voice been naturally just a little heavier. That is in no way meant to be a criticism for indeed it was most enjoyable throughout to listen to your presentation of Katisha’s songs.

I liked the way in which you steadily became worked up into a passion as the chorus using all those fans thwarted your efforts to tell us who Nanki-Poo really was. Again here I wasn’t quite certain about the position you were placed in, you were isolated in the centre but I felt you should have been in a more prominent position either right down front or in the centre of the bridge so that with that red light upon you you could completely dominate the stage in every way except that you could not overcome the combined efforts of all the local people. Your interruptions as the Mikado attempted to address the people were perfectly timed leaving us in no doubt that there was a very formidable lady indeed. When it came to timing comic lines you were in equally good form as with your line saying that ‘that’s not true’ when it had been suggested that you were quite a beauty. This set up Pooh-Bah’s response of ‘no that not true’ ideally and as a result the line received its just reward in the response it received from the audience.

I would only make one remark about your appearance and that is the fact that when Ko-Ko came to sing the line ‘I’ve Got to Take Under My Wing ........ a Most Unattractive Old Thing tra la’ it didn’t really ring true because the lady that you presented on stage was far from being unattractive. Indeed you looked rather regal and imposing, which made you wonder just why Ko-Ko was in such a sweat about having to propose to you. Once again as we came into the second Act the wardrobe team served you well and you wore those dresses with great authority. You also made excellent use of that large fan, which is something which looks so easy from the audience but is not that easy when you actually have the thing in your hand.

There was good facial response from you as Ko-Ko recited the tale of ‘Tit-willow’ and the duet which followed between the two of you was immensely enjoyable. As was the scene in which you and Ko-Ko finally made up your differences. Here as we built up to the finale excellent use was made by the director and choreographer on the full set with good pictures being created both on centre stage with movement there and on the stairs and bridge itself. This helped to visually bring to an end a performance that had created a fine portrait of Katisha.

Finally may I give a thank you to the audience for the manner in which they applauded the production at the end. Even in the professional theatre now all too often whilst music is playing in the background the audience feel that they are obliged to applaud in unison and the net result is that we never know who they particularly liked or whether one or another performance deserves a little bigger reception than the other. This may be a modern way of thinking but to me it is somewhat insulting to the performers that all of them mainly receive a unison hand clap from the audience as though they can’t be bothered to work out whom they did or did not like within the production.

My thanks also to the front of house staff for the courteous manner in which I was received and the kind hospitality.