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Review by David Munro
A MORE sublime Mikado never did there exist
to paraphrase Mr Gilbert. A slight exaggeration perhaps but only
slightly as The Carl Rosa production of the Mikado now at
New Wimbledon Theatre is as about as good as you are
entitled to expect.
The company has set out to restore Gilbert’s original production
using costumes based on Wilhelm’s original designs, supplemented
by the ones used in the film, Topsy Turvy.
The result is a feast for the eye, brilliant colours contrasted
with stunning black and silver chorus kimonos set against a simple
background of a Tea Garden in the first act and a forest in the
second.
No one today can truthfully say what the original production
looked like but I am sure if old WS were alive today he would
be delighted.
Credit for this must be given to Eric Roberts and Peter Molloy
who, according to the programme, 'researched and recreated' the
production.
A gorgeous set and costumes are nothing if the cast don’t
match them and I am delighted to say that they do and, to use
the vernacular, 'in spades'!
Although all the cast are masters of their craft one is exceptional
– Simon Butteriss as Ko-Ko the executioner malgre lui.
It is true that Ko-Ko is the part usually given to the star comedian
but I have seen some woefully unfunny ones; not Mr Butteriss though.
He sings delightfully both in the patter numbers and particularly
in the wistful Tit Willow aria.
He is apparently made of India-rubber in view of the contortions
through which he puts his body yet, at the same time, remaining
remarkably graceful.
He distils Gilbert’s somewhat dated humour with a charm
that makes it not only palatable to today’s audience but
funny with it. His was a performance I shall remember for a long
time and will remain a touchstone for my view of any future Ko-Ko
I happen to see.
Whilst Ko-Ko may have dimmed the radiance of the rest of the cast
they still shone. Ivan Sharpe was a virile Nanki-Poo with a nice
wry sense of humour. In case you have forgotten the plot, Nanki-Poo
is the son of the Mikado who returns to the town of Titipu in
disguise to marry Yum-Yum. He is affianced to a Katisha who is
determined to have him. For purposes of plot, Ko-Ko and Pooh-Bah,
a venal politico, pretend to have executed Nanki-Poo and, to extract
themselves from the Mikado’s wrath, Ko-Ko has to marry Katisha
(are you with me?).
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Bruce Graham and Steven Page, as
Pooh-Bah and The Mikado respectively, extracted every ounce of
humour from their roles and put over their songs with the requisite
expertise.
Gilbert’s humour is somewhat mannered and if badly handled
can be banal and boring. Neither of these two artists fell into
the trap and made their characters vital and amusing.
On the distaff side, there is Katisha and Yum-Yum and her two
sisters, Pitti-Sing and Peep-Bo.
Katisha is one of Gilbert’s most defiantly anti-feminist
creations - an ugly, embittered spinster with some lovely contralto
songs.
Nuala Willis sung the part beautifully and managed to bring
pathos into it which gave Katisha a welcome whiff of humanity
so often lacking. It is all too easy to portray her as a grotesque
but Miss Willis side-stepped the stereotype and made her more
of a human being without sacrificing the inherent humour of the
part.
Yum-Yum is a pretty self-centred doll, as is typified by her
aria the The Sun Whose Rays… Charlotte Page personified
her perfectly, singing delightfully and making one believe that
Nanki- Poo would risk his life and reputation for her.
Her two sisters are really just there to give her support but
Victoria Ward, as Pitti-Sing, made her a pert and charming character,
flirting with the Mikado and generally making her presence felt.
Whether Gilbert would have approved - who knows? I thought it
was well in keeping with the tone of the production and very amusing.
The Orchestra, as one has come to expect from Carl Rosa, was
vibrant and buoyed up the score with some excellent playing. I
am not sure which of the two designated conductors was on duty
(they are listed as Martin Handley and Dr David Russell Hulme)
but whoever it was kept proceedings going at a spanking and tuneful
pace.
I never thought I would live to see the day when I really enjoyed
Gilbert and Sullivan.
There have been some excellent productions of The Mikado
(Jonathan Miller’s at the Coliseum immediately comes to
mind) but none that I can recall had the insouciance and innocence
of this one which, I realise, is what Gilbert must have intended
all those years ago.
I can only congratulate Messrs Robert and Mulloy and the Carl
Rosa Company on their achievement and urge you all to get to Wimbledon
this week. Next year they are off to conquer America and who knows
when we shall see them again!
The Mikado by WS Gilbert, Music – Sir Arthur Sullivan.
Researched and recreated by Eric Roberts and Peter Mulloy.
Choreographer – Caroline Lamb.
Set designer – Eve Stewart.
Costume designer – Wilhelm & Lindy Hemming.
Lighting – Leigh Mulpeter.
Conductor - Martin Handley & Dr David Russell Hulme.
CAST: Stewart Page; Ivan Sharpe; Oliver White; Simon
Butteriss; Bruce Graham; Barry Clark; Charlotte Page; Maeve Morris;
Virginia Ward; Lesley Cox; Nuala Willis; Graham Case; Pam Baxter;
Jonathan Benton; Sarah Blood; Nicholas Butterfield; Christopher
Carroll; Darren Clarke; Richard Colvin; Belinda Evans; David Furnell;
Hannah Jones; Harry Grant Kerswell; Victoria Manders-Jones; Carla
Maney; Katherine O’Shea; Simon Pontin; Mark Siney; Annette
Stein.
Presented by Carl Rosa Company.
New Wimbledon Theatre, The Broadway , Wimbledon, London, SW19
1QG.
Tues, Nov 22 – Sat, Nov 26, 2005
Evenings – 7.30pm.
Matinees – Thurs & Sat 2.30pm.
Box Office – 0870 060 6646
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