TabReview: The Mikado

‘The Mikado’ performed in Castle’s Great Hall is the newest offering from DULOG: a Gilbert and Sullivan classic.

The operetta is a comedic tale revolving around Nanki Poo, the son of the Mikado, who disguises his identity to escape marrying the old courtier Katisha. Whilst in disguise he falls in love with the beautiful Yum Yum and from there confusion ensues providing plenty of opportunities for comedy which DULOG certainly capitalized on.

The set was rather minimal with a string of paper lanterns strung across the fireplace with Japanese banners at the sides and some oriental knick-knacks on a shelf. The fact that the main action took place in front of a fireplace looked initially odd especially when the chorus entered and tried to manoeuvre their way around in the small space.

The comedic trio mid-flow. Credit: Nana Dei-Anang

However, as the performance progressed and I became immersed in the world of Gilbert and Sullivan I began to appreciate the minimalistic set as it allowed the actors to remain the focal point of the show. Especially their facial expressions which at times were reminiscent of mimes. A parallel exacerbated by their white faces.

The costume as well as the set was rather simplistic but ingenious as the cast made their kimonos out of gowns with a coloured sash around the waist. The make-up was stereotypically Japanese with exaggerated eye-liner, drawn on moustaches for men, rosy cheeks and red pouty lips for the women.

Unfortunately, as the actors were so close to the audience the imperfections of the make-up were rather obvious. As the performance progressed the white faces became less and less clear, a problem rather common with white face paint but one that could easily have been solved.

The cast themselves were faultless, each actor adding something essential to the overall performance. Their singing was exceptional despite initial issues with certain actors not being heard over the orchestra which was soon overcome.

Stand out performances came from Hugh Train as the indignant Pish-Tush, Matt Elliot-Ripley as the self-indulgent Pooh-Bah and Russell Park as the charismatic Koko. This trio really drove the comedy element of the operetta.

Hugh Train’s sullen gurn and curled fingers a constant contrast to the exuberant and flamboyant Matt Elliot-Ripley. I was transfixed by their heavily exaggerated facial expressions and comedic reactions through out.

Alex Prescot was a very convincing wondering minstrel with his guitar constantly strung across his back. As the love struck Nanki Poo he wasn’t the most convincing lover, but his singing was exceptional.

The centre of his affections, Yum Yum played by Claire Ward was suitably girlish and vain. Her solo at the beginning of Act II just before she gets married was truly beautiful and added to the overall quality of the singing. Her little speech about vanity providing yet another comedic moment in this rib-tickling production.

The lovers thinking of their future. Credit: Nana Dei-Anang

Another exceptional performance was that of Caitlin McEwan as the haggish Katisha – complete with hump back, wrinkles, slug eyebrows and Billy bob teeth which married beautifully with the comedic aspects of the operetta.

As she states she is an “acquired taste”. Her comical entrance interrupting the merriment of the scene in which she tries to reveal the true identity of Nanki Poo is very effective as the chorus drown out her voice with their own torrent of singing

One of the many comedic highlights was Koko’s song about his list in which references were made to twerking, Grand Theft Auto 5, 50 shades of grey and Gangnam Style complete with lassoing actions. Poo-Bah’s constant referencing to his various roles and offices was also a recurring comedic element and further emphasised his pompousness.

The three little maids performing with parasols Credit: Nana Dei-Anang

The choreography by Susie Hudson reiterated the humour of the operetta and emphasized certain stereotyped movements. Although there were times when the actors seemed to be dancing some kind of barn-dance style swing which didn’t fit within the conventionality of the rest of the play.

The orchestra situated just off stage left directed by Andrew Mair was a real asset to the performance playing exquisite music through out. Although I was initially concerned about how Lumiere may affect this production and its success, it succeeded in filling all the seats.

The noise from the light display on the cathedral occasionally drifted in at more silent moments but the performance was generally unaffected by the hubbub just outside. Especially with the aid of the orchestra it really did feel like we were in the wonderful Titipu of Gilbert and Sullivan’s imagination.