PERFORMANCE & COMEDY

Theatre Royal, Bath (to Sat 24 Sept)

OPERA If the audience of 'The Mikado' were allowed for one moment to consider what is really happening onstage – the threat of death by decapitation, being buried alive or being boiled in oil, cruelty, greed, deception and small town corruption – it might be hard to enjoy it as a comedy. But the genius of Gilbert and Sullivan was to work these dark themes into an entertainment bursting with witty lyrics, enduring melodies and joyful performance. This production by the Carl Rosa company mirrors the original 1885 production as closely as possible to produce exactly the same effect, and is an absolute pleasure from the overture to the preposterous (but wonderfully satisfying) finale.

By any definition, 'The Mikado's characters are strange. Gilbert was fascinated by the idea of creating a world of "topsy-turvydom, Where vice is virtue, virtue vice: Where nice is nasty – nasty nice" and this operetta was his most successful attempt. As if in a Restoration comedy, his characters revel in corruption and selfishness, but as in a pantomime are ultimately redeemed by a happy ending that is plucked from the air with astonishing audacity.

Each of the players is finally revealed to be the opposite of how they first appear. The apparently terrifying Lord High Executioner (Ko Ko, played by Alistair Donkin) is a cowardly fraud only appointed to the post because he was himself condemned to death "for flirting". The allegedly all-powerful Mikado (Sylvester McCoy, pictured) is, for all his fierce scowling, actually scared stiff of his nagging 'sister-in-law elect' Katisha (played quite wonderfully by Nichola McAuliffe who seems to be channeling a bloodthirsty Edwina Currie – and I mean that as a compliment) before she's revealed, in turn, as a warm-hearted mass of insecurities and sentimentality –  although she always retains a lusty edge.

By contrast to the nefarious goings-on of the main characters, the stage sets are straightforwardly beautiful, featuring warm reds and bright ultramarines. The costumes are full of the exotically detailed Japanese embroidery that so fascinated the late Victorians and the stage is framed by a halo of orange blossom. But it is Gilbert and Sullivan's assured lyrics and music that make 'The Mikado' their masterpiece. This was their ninth collaboration and many of the songs have become established as all-time G&S favourites. 'Three Little Maids from School are We', 'A Wand'ring Minstrel, I', 'Willow, Tit Willow' et al are beautifully performed by the cast (especially Rebecca Knight – one half of the OperaBabes – as Yum Yum).

One final joy. There's a G&S tradition of making topical additions to one particular song in 'The Mikado' to ensure its continuing satirical relevance - the Lord High Excutioner's 'Little list' of people who'd "not be missed" if he was to behead them. In this production the list includes a number of current TV celebrities - quite a shock if you're not expecting them, so listen hard – they're delivered at breakneck speed. (Andy Batten-Foster)

Copyright Andy Batten-Foster 2011