The Mikado, written by the iconic duo W.S. Gilbert and Arthur Sullivan, was first performed in 1885. It is one of their most famous and often performed comic operettas and is set in the fictional Japanese town of Titipu. It follows the story of Nanki-Poo, the son of the Mikado (the emperor), who disguises himself as a wandering minstrel to escape an arranged marriage with the less-than-desirable Katisha (but she has a lovely shoulder and an exquisite elbow!) and pursue his true love, Yum-Yum. However, Yum-Yum is betrothed to Ko-Ko, the town’s Lord High Executioner. A series of absurd plot twists and satirical misunderstandings ensue, ultimately resolving with a happy ending where true love triumphs and justice is served—albeit in a highly convoluted way.
The Mikado is one of Gilbert and Sullivan’s most famous and often performed comic operettas, and this is no less than the fourth time it has been presented by the SA Light Opera Society (SALOS), with the other productions being staged in 1995, 2008, and 2015. This reviewer saw the 2008 production and notes the main difference between that production and the current one comes down to the impact made by different actors: in 2008 the performers playing Nanki-Poo and Yum-Yum were excellent, but this time the success of the production is largely due to the physicality and exuberance of Ko-Ko. More on that later.
While The Mikado was originally intended as a satire of British politics and bureaucracy—thinly veiled behind a Japanese setting—it has become increasingly controversial in modern times. Critics have often argued that its faux-Japanese setting and use of exaggerated stereotypes amount to cultural appropriation, with yellowface (non-Asian actors in makeup and costumes mimicking Asian features) being a particularly problematic aspect of many traditional productions. This has led to some theatres modifying or even cancelling productions due to backlash.
The Mikado contains misogynistic elements, especially in the portrayal of women as vain, submissive, or shrill (notably the character Katisha, who is often depicted as an older, desperate woman). Modern stagings often attempt to address these issues through reimagined settings, updated scripts, or diverse casting, though debates about the work’s appropriateness continue. However, SALOS has chosen to present The Mikado ‘as written’, although there are a few humorous attempts to inject some modern references, such as instructing oneself about marriage via TikTok, and paying debts via afterpay, and travelling overseas to far flung places such as Kngaroo Island.
The Mikado is not the only opera that has attracted such criticism, but as Assistant to the Director Rachel Lee opines in the printed program to SALOS’ current production, “…despite our modern perspectives finding issues with parts of this show as with most of this era, this is a funny show and should be appreciated with the understanding that it is a product of its time. As with any good art or theatre, issues presented are thought-provoking and a reflection about issues of the society and people who wrote the piece.” This reviewer cautiously agrees with Lee.
And so to SALOS’ current production of this much-loved operetta. It is bright, colourful, tuneful, and fun (especially in Act 2, but Act 1 needs more pace and liveliness). Maria Davis’ set design is simple and evokes an oriental feel. Pleasingly, Davis chooses not to use the elevated stage in the Tower Arts Centre and locates all action at auditorium floor level, and she chooses to not hide the small (and pleasing) orchestra behind curtains. Paul Tossell’s lighting design mostly confines itself to general washes with pleasing transitions. Director Pam Tucker’s costume design is excellent, and its execution is first rate. (The program does not separately credit the costume makers.) Tucker also choreographed the production, and makes substantial but almost excessive use of hand props (fans, parasols) around which to structure dances and movement. This excess substantially hinders the pace of Act 1.
Musically, The Mikado is one of Gilbert and Sullivan’s most enduring works, filled with memorable numbers. “Three Little Maids from School” is a light, catchy trio sung by Yum-Yum and her friends, and Katrin Treloar, Maria Davis and Kate White make a harmonious fist of it. “A Wand’ring Minstrel I” is Nanki-Poo’s opening aria, and showcases the lyrical romanticism of Andrew McKinnon’s voice. “As some day it may happen” (or the ‘list song’) is Ko-Ko’s humorous patter song that is often updated with contemporary references. Wade Shiell as Ko Ko extracts its humour and his light tenor voice gradually warmed up as the performance progressed – it was on fire in Act 2! “The Sun Whose Rays” is Yum-Yum’s reflective solo, notable for its melodic beauty, and Treloar sang it sweetly, but not as beautifully as she sang “The sun, whose rays are all ablaze”! Just lovely! “Tit-Willow” is a bittersweet, comically tragic song sung by Ko-Ko, and Bronwyn Calvett both sings and acts it demonstrating her ample experience. Indeed, she doesn’t rely on any choreography to do justice to the aria, and works well with Shiell.
David Roberts plays Pooh-Bah with understated pomposity and enjoys wearing many hats, literally! Brendan White is a newcomer to SALOS and his performance as the Mikado is suitably grand and imposing. He enunciates well and has a pleasant voice.
Helen Loveday’s small orchestra – only seven instruments – is delightful and well balanced , and her conducting is measured and precise.
Act 2 sees Shiell shine as Ko Ko, and he almost single handedly carries the act. His interaction with the audience is carefully managed, and funny, and he only ever so slightly upstages others on stage! As previously mentioned, Shiell has a light voice but it works well in the context of Ko Ko. It’s his acting chops that draws positive attention, and when the final curtain is drawn, one remembers his performance above all others.
A creditable production by SALOS.
