Photos: Matt Hunter.
The Mikado, by WS Gilbert and Sir Arthur Sullivan
Theatre At The Tabard
2 Bath Road
London
W4 1LW
Directed by: Keith Strachan
Take Note Theatre Ltd for Tabard Theatre.
🍷🍷🍷🍷 – 4 out of 5 glasses of fine claret! (And a Saki 🍷 !)
In full disclosure, in spite of my.. er…’exciting’ age (!) I have NEVER seen a Gilbert and Sullivan production, although I’ve worked on a few shows where the songs, lyrics and characters have been plagiarised or borrowed for comic effect.
And I think I’ve missed a trick! G and S may have written this a century ago, but Director Keith Strachan has conjured up a sparkling and attractive ensemble piece that feels very contemporary. Oh… and it’s great fun!
If you know The Mikado, you will know that it is set in a fictionalised Japan that never existed. You will also know the story is quite daft and the characters all have very silly names. It all took me a bit by surprise, so it’s worth mentioning if you’re a first-timer. But don’t be put off by that, because now you know!
And I guess that because most productions would have large-scale orchestras in huge theatres, the intimacy of the Tabard Theatre once again works a treat because you can hear every word and relish every beautiful harmony. No microphones here! And this Take Note production has mustered an exceptionally talented cast of nine.
Hidden away at the side of the stage is Musical Director Annemarie Lewis Thomas whose keyboards sound full and complete. She is joined by actor/muso Erica Flint, whose jaunty performance and flute feels finely on tune. Flint is joined by actor-musician Nicholas Curry, the fresh faced, tank topped romantic lead playing Nanki Poo, all innocent charm, who is prone to producing a trumpet and adding his brass to brilliant effect. Alongside fellow romantic lead Tilly Goodwin who is a yummy Yum Yum, low-key, fun and flirtatious.
Contemporary references and adaptations of the original show include a song ‘I’ve Got a Little List’, with some sharp digs at Elon Musk, climate change deniers and various politicians, and The Mikado’s song, with references to “late-running district line trains”, at which a section of the audience applauded.
John Griffiths plays two roles – the bewildered and slightly pompous Pish Tush, then the Mikado himself after the interval, all swagger and more pomp, his red velvet cape swirling regally for all its worth.
Martin George as Pooh Bah is the very essence of a ‘haughty and exclusive’ official, a corruptible and self-important man, who brilliantly was “born sneering”. He is matched by an intense Fed Zanni as Ko Ko, also known as the Lord High Executioner, fighting for the affections of Tilly Goodwin’s Yum Yum whilst decked out in a thick pinstripe suit and spats.
JJ Lam as Pitti Sing and Sophie Jugé as Katisha have strong solo musical moments, the latter having great fun as the Mikado’s putative daughter-in-law, wielding a riding crop rather alarmingly and getting a bit over-wrought on occasions.
Finally, as Peep Bo, Millie Fryer-Hornsby – apparently making her stage debut, although you wouldn’t know it from the confidence and verve of her performance – is in fine voice and, with Sophie Jugé, provides the nimble and very attractive choreography.
This is very much an ensemble piece and Strachan balances the elements brilliantly; the pace is beautifully judged, and the articulation of the often complex lyrics is perfectly annunciated.
It all looks lovely too. The set is airy open, with a tiled floor surrounded by a stone balustrade and backed by a cloudy sky. Eliza Podesta’s inventive and colourful costumes hit just the right tone and Sandra Szaron’s summer-toned lighting adds vibrancy and cleverly focusses attention at key moments.
So yet another hit from The Tabard Theatre. Go see the show, a perfect offering for both G and S aficionados and virgins.
