“The Mikado was never a story about Japan,” stated William Gilbert, in writing about the popular comic opera he co-created with Arthur Sullivan, “but about the failings of the British Government.”
Gilbert & Sullivan had set the opera in an exotic location far away from British shores, so that they could satirise British politics and institutions by disguising them as being Japanese. 

All of which is well and good. The problem, however, is that for many people - particularly in the last 20 or 30 years - The Mikado is first and foremost a work which promotes negative stereotypes of Asian culture. This has seen more-recent versions being relocated to a different time and place from the original - which is exactly what director Sarah Helsky Hughes has done with this brand-new National Gilbert & Sullivan Opera Company production.

Rather than being set in the fictitious Japanese location of Titipu, this new version takes place at The Titus Willow School for boys - a 1950s English-styled public school. Girls from a neighbouring school get involved; the set is a 1950s classroom; the chorus wear school uniforms; the principles are attired in costumes which identify their jobs... 

A traditional Mikado this most definitely is not! 

And so it goes on... The Mikado of Japan is now a cane-wielding headmaster, played by Bruce Graham. The Mikado’s son, Nanki-Poo (Sam Marston), rather than being disguised as a ‘wand’ring minstrel’, is a guitar-playing folk singer who is in love with Yum-Yum (Emily Vine). And Yum-Yum is the sister of Pitti-Sing (Meriel Cunningham) and Peep-Bo (Alexandra Hazard) - Three Little Maids From School Are We... 

Then there’s the headmistress, Katisha (Gaynor Keeble), who plays an older woman in love with Nanki-Poo, and a vicar (Simon Butteriss), who plays the highly entertaining Ko-Ko, The Lord High Executioner. An ageing PE teacher (Steven Page) takes on the role of Pish-Tush, a noble lord, while The Lord High Of Everything Else is portrayed by a school master (Matthew Siveter) who, er, teaches everything else!

This brave and inventive new production of The Mikado features all the original toe-tapping lyrics and scores. Butteriss’ ‘little list’ - making fun of modern-day British politics - is very clever and executed with perfect comic timing. His version of On A Tree By A River (Willow Tit-Willow), performed towards the end of the show, is perfectly gentle and moving. Gaynor Keeble’s character of Katisha is a force to be reckoned with - as is her powerful voice!

Great vocals - as you might expect - and imaginative choreography help to transform this problematic opera into a more up-to-date experience. The final act, which includes For He’s Gone And Married Yum-Yum, provides an entertaining and uplifting end to a thoroughly delightful show and was greatly appreciated by last night’s audience. 

The company - always accompanied by the acclaimed National Festival Orchestra - is also presenting productions of The Yeoman Of The Guard and The Pirates Of Penzance during its three-day stay in Malvern. It is to be hoped that both shows prove every bit as enjoyable and entertaining as last night’s Mikado.

4 stars

Reviewed by Sue Hull on Thursday 7 September at Malvern Theatre, where the National Gilbert & Sullivan Opera Company will also perform The Yeoman Of The Guard today (Friday 8) and The Pirates Of Penzance tomorrow (Saturday 9).