THE MIKADO
Director: Roché Haupt-Buckle
Cast: Members of Cape Town Gilbert & Sullivan
Choreographer: Roxy Levy
Accompaniment: Cape Town Philharmonic Orchestra conducted by Alastair Cockburn
Venue: Artscape Theatre
Until: Sunday
Rating: ***
Escapism pure and simple is what this polished production from Cape Town Gilbert and Sullivan offers its audience as it captures the pseudo-Japanese drollery of the original with the addition of ear-beguiling lyricism from proficient singing and smooth orchestral accompaniment directed by Alastair Cockburn.
Director Roché Haupt-Buckle brings imagination and flair to the staging of this Mikado, discernible from the first moments of the evening when, as the jolly overture is attacked by the CTPO, three cameos evoking Japanese culture appear serially to provide visual interest. Moreover, Michelle Hough’s versatile set creates an ideal context for delivery of the performance, its geometrical structure in keeping with Oriental simplicity.
Spectacle is a major element of this operetta, and a large, elaborately costumed cast is a sine qua non for its success. This production does not disappoint: no effort or expense has been spared. Kristine Berg’s costumes are richly colourful with a touch of humour seen in the fanciful headgear of the Japanese noblemen. Fans and parasols are used to good effect in enhancing Roxy Levy’s choreography in ensemble pieces and affirming Japanese character.
Although faithful to Gilbert’s libretto, the script is updated to keep it fresh – hence references to Facebook, apps, and red berets favoured by certain politicans.
A significant strength of this Mikado is the quality of its principals’ performance: Marcus Titus and Karen Wilson-Harris rise impressively to the vocal challenge of their roles as Nanki-Poo and Yum-Yum, and in addition show that they can act.
Simon Speck (Ko-Ko) is suitably fatuous, complete with grotesque head-wear, and Peter Kramer has the ponderous majesty to be expected of the Mikado he impersonates. Waldo Buckle’s Pish-Tush has a strong stage presence with a reliably resonant bass-baritone, while Stephan Le Roux, as the venal Pooh-Bah, and Monika Voysey (Katisha) make the most of their antipathetic roles.
Clarity is sometimes wanting in diction, and male vocal ensemble is messy on more than one occasion, but the overall impression is one of well-rehearsed execution.
Most important of all is the infectious sense of fun infusing this, CTG&S’s 100th production. Audience and performers alike share in the enjoyment of the inspired silliness that is the hallmark of Gilbert and Sullivan, epitomised perhaps by the grinning paper dragon paraded in Act Two.