REVIEW The Mikado is one of Gilbert and Sullivan’s most successful collaborations and is the most performed of their works, delighting audiences for over a century. The Cambridge Operatic Society took this classic comic opera and gave it a few modern twists. I have to admit to being a bit of a traditionalist when it comes to Shakespeare and G&S and never quite feel comfortable when directors go for modern day interpretations. However, James Hurley’s very modern interpretation of The Mikado worked for me. The imaginative new setting of The Mikado art gallery, where Japanese paintings come to life in the Titipu Wing was very clever. During the beautiful overture music we see a busker (the wandering minstrel) outside an art gallery on the day before the opening of a radical new exhibition by the artist, Katisha. He becomes embroiled in a fight over a young lady, which ends with his being knocked unconscious. He then dreams and he is in the art gallery where paintings come to life, tourists break into song, and gallery attendants threaten execution to keep order, as the story of the penniless student Nanki-Poo fights to win the hand of Ko-Ko's ward, Yum- Yum unfolds. Apart from the paintings of the Gentlemen of Japan and the Three Little Maids from School, the chorus are all in modern dress from football fans to schoolgirls and there were many lovely comic moments. The singers were all, thankfully, good actors which meant the dramatic dialogue was well delivered; even the modern references were thrown in with great ease. There were some splendid performances, not least from our ‘hero’ Alessandro Fisher (Nanki- Poo). David Gower (Ko-Ko) and Simon Wilson (Poo-Bah) are both accomplished singers and actors with wonderful comic timing. David’s rendition of On a Tree by a River was beautiful. Philippa Clark as Yum-Yum has a superb voice and an excellent feel for comedy, delivering the line: “Buried alive! It’s such a stuffy death!” totally deadpan. A first- class leading lady. Good support from Lucas Elkin (Pish-Tush) and Rachel Jarmy (Peep-Bo) and particularly Cat Nicol (Pitti-Sing) as the other giggling ‘maids from school’. Caroline Dyson as Katisha wasn’t ugly enough! However, she has a lovely voice and really strutted her stuff. With his powerful voice and physique Nigel Murfitt dominated the stage in the title role. This was a really enjoyable production although such enjoyment was in danger of being spoilt by the overall lack of lighting (designed by Rob Mills). Maybe it was symbolic which is fine in its way, but having to peer through a dim blue haze 90% of the time was a strain. The music for the production was especially arranged and orchestrated by Brian Thomas and was absolutely splendid, congratulations to conductor and musicians alike. James Hurley is a new director for Cambridge Operatic Society and I for one look forward to his swift return. Reviewed by Julie Petrucci |