Mikado 2017
LOpSoc brings to the Nuffield Theatre a fresh and unique production of “The Mikado”, one of the most loved and best lasting Gilbert & Sullivan operettas. With a new aesthetic twist and setting, witty libretto and gorgeous music, this is a production to please newcomers and G&S fans alike.
Gilbert found all of the reference material he needed within a mile of his own home in South Kensington. From the Japanese Village in Knightsbridge, a male dancer and a tea-girl were permitted to give their services to the Savoy management. The dancer was not only polite and refined, but also an accomplished linguist. The tea-girl was responsible for teaching the ladies Japanese deportment: how to walk, run or dance in as tiny and graceful steps as possible, and how to spread and snap the fan to express different emotions.
Therefore, the original production portrayed an exaggerated, yet somehow faithful, image of Japan from an English perspective at that time. In present day, the operetta has sometimes been considered to play too much on stereotypes. However, Gilbert \& Sullivan's intention was only to seek in an exotic setting an opportunity to build a clever and fun critique of their very own English politics and society.
From its inception The Mikado has been heavily based in pure imagination, as Gilbert had never been to Japan himself. It is exactly there where we set our version of this story: in an imaginary world. Already in the overture we meet Wendy, James and Peter, three friends who are folding origami together. They soon start to name their toys and create a world and story for each one of them - the story of The Mikado. As the plot progresses we also learn more about each child's personality; of Wendy's sensitivity and romantic view of the world, Peter's wit and playfulness, and James' stubbornness and sometimes overbearing attitude.
The tale begins when the three children decide to fold origami figures. They play with their creations, naming each one and imagining a story for them. However they don't always agree on the course of the plot...
Nanki-Poo, the son of the Mikado, fled the imperial court to escape marriage with Katisha. Disguised, he falls in love with Yum-Yum, who is already betrothed to her guardian Ko-Ko, the soft-hearted Lord High Executioner of Titipu. Nanki-Poo is devastated, but in a secret meeting with Yum-Yum he confesses his love, revealing his true identity and the reason why he ran away. Meanwhile, the Mikado sends a letter demanding that an execution is carried out within a month, otherwise Titipu will lose its privileges. Ko-Ko comes up with an ingenious plan after finding out that Nanki-Poo, in his heart-broken misery, has decided to commit suicide. Since he is decided to die, Nanki-Poo should volunteer to be publicly executed instead, thus solving the issue of how to fulfil the Emperor's order. In exchange, Nanki-Poo and Yum-Yum can be married for a month prior to his execution. However, Katisha discovers Nanki-Poo's whereabouts, and is not at all willing to let him go... Intersecting love triangles, political intrigue, disguised identities and origami meet in Titipu.
Production Team[edit]
| Role | Name |
|---|---|
| Directors | Billy Boulton and George Smith |
| Musical Director | David Child |
| Assistant Musical Directors | Liam Chan and Natasha Bennetts |
| Choreographer | Renata SK |
| Producers | Renata SK, Isaac Treuherz, Lucy Rose, and Venetia Matthews |
| Costumes | Amber Courage and Eris Perring |
| Technical Directors | David Young and Tom Pell |
Cast[edit]
| Role | Name |
|---|---|
| Yum-Yum | Amy Wardle |
| Pitti-Sing | Emma Paull |
| Peep-Bo | Amber Courage |
| Katisha | Jenny Samuel |
| Nanki-Poo | Barnaby Wilson |
| Ko-Ko | Ben Walker |
| Pish-Tush | Richard Kille |
| The Mikado | Joe Hand |
| Wendy | Nadia Fundell |
| Peter | Patrick Edwards |
| James | Isaac Treuherz |
| Chorus | Abby Pardoe |
| Chorus | Abigail Smith |
| Chorus | Andrew Wood |
| Chorus | Eris Perring |
| Chorus | Jamie Hizzett |
| Chorus | Julie Hao |
| Chorus | Katie Giles |
| Chorus | Lucia Watts |
| Chorus | Mandy Yuan |
| Chorus | Megan Warinton |
| Chorus | Michelle McInnes |
| Chorus | Renata SK |
| Chorus | Rhiannon Creffield |
| Chorus | Robyn Hunt |
| Chorus | Sabrina Beever |
| Chorus | Steve Jenkins |
| Chorus | Tom Hudson |
| Chorus | Venetia Matthews |
Orchestra[edit]
| Role | Name |
|---|---|
| Conductor | David Child |
| Violin I | Emma Benson and Thomas Dyke |
| Violin II | Peter Welinkar and Nommy Mlalazi |
| Viola | Katie Harding |
| Cello | Kara Jackman |
| Double Bass | Fiona Sunderland |
| Flute | Bethany Lee and Natasha Bennetts |
| Piccolo | Eleanor Philpott |
| Oboe | Jacob Thorne |
| Clarinet | Katie Chappell and Lilian Lee |
| Bassoon | Catriona Gibbon |
| Trumpet | Patrick Wakelam, Billy Fisher and Robbie Smith |
| Horn | Joshua Wright |
| Trombone | Tom Grieg, Will Edwards and Ellie Bristow |
| Percussion | Torjus Martinsen |
Technical Team (StageSoc)[edit]
| Role | Name |
|---|---|
| Technical Directors | David Young and Tom Pell |
| Lighting Designers | George Tucker and Jason Garde |
| Lighting Operator | Martha Fooks |
| Followspot Operators | Georgie Grieve and Phoeve Lewis |
| Deputy Stage Manager | Edmund King |
| Stage Manager | Josh Curry |
| Sound Crew | Oliver Trojak, Zavier Scozzari, Will Barber, Hannah Parsons, Callum Bates |
| Fly Crew | Joseph Lynch, Laurie Kirkcaldy, Adam Taussik |