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The Mikado |
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Gilbert and Sullivan's tale of flirtation, corruption and beheadings (or the lack of them) seems to be enjoying a revival at the moment and Oxford University Gilbert and Sullivan Society's version provides the chance to enjoy the lovable capers of the Mikado's court at the Old Fire Station until Saturday. To quote Jonathan Miller, 'The Mikado is not really about Japan: it's about the silly English'. The Mikado is widely regarded as the most popular of Victorian operettas because it epitomises the light comic style which Gilbert and Sullivan mastered so fully. This production is certainly wonderfully silly, and if the original was intended to satirise English society in general, the G&S Society's production is well adapted to its setting in present-day Oxford. For those not familiar with the plot, the Mikado presents a story which might have had Machiavelli taking notes, and it is better experienced than explained. Suffice it to say that the drama revolves around the designs of the Lord High Executioner (a deliciously caddish Adam Smyth) to marry his ward, Yum Yum (Kirsty Anderson). She in the meantime has fallen in love with Nanki Poo (played with affective naivety by Will Edwards). Katherine Cooper's Katishsa compounds the situation in a blaze of haggish glory as she dominates the stage at the end of Act 1 when she comes to claim her former lover Nanki Poo. The cast work their way through the various plot twists required to bring this situation to a conclusion with aplomb, with very strong performances from all the principle characters. Anderson, together with Anna Larkin (Pitti Sing) and Bethan Jenkins (Peep Bo), provide an ironically coquettish slant on the traditionally very fluttery roles of the Three Little Maids. Ollie Hayes' wonderfully sententious Pooh Bah and Alexander Morrison's unselfconsciously inflated Mikado also exploited to the utmost the comic potential of their roles, which can easily seem incidental to the plot. This was reflected in a healthy level of guffawing from the audience. From a musical point of view, the principals could have been better served by the chorus, who lacked verve in the first act, although they visibly relaxed as the show proceeded. The design of the Old Fire Station presents problems for ensembles, which were apparent in some of the earlier numbers, but these problems seemed to have been ironed out by the second act. It was a pity that the cast were supported by piano alone, when Sullivan's original orchestral scoring could have added a robustness which was distinctly lacking in some of the musical numbers. The absence of an orchestra was especially acute at the very beginning of the show where the long overture was not enhanced by some rather clunky lighting effects. In addition, occasional overly fussy dances were distracting, and did not sit easily with overall clarity of the production. On the whole however the production was intelligent and effective, with simple and unobtrusive lighting and movement being used to enhance the drama. It is definitely worth spending an amusing evening at this Oxford Mikado's court. Daniel Parkes, 28.04.04 |
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