The Mikado

We have come to expect a high standard of theatre from ICW productions, and indeed that’s just what we get with this clever and entertaining production of the most popular of all Gilbert and Sullivan operettas. First performed in 1885 and running for nearly 700 performances, this is a show that was designed to appeal to a wide ranging audience in the 1800s, and it continues to please today.

The pseudo-Japanese setting gave the creators open slather. They sent up almost every institution known to politics, took the micky out of toffs and commoners alike and pointed out a few home truths about the human condition in general. Director Mark Barford brought out all these elements in his production. He had excellent material in his cast, all of whom, from Nanki-Poo (Richard Symons) to the well-drilled chorus, excelled in their roles. The company comprised over 30 performers, and none was less than excellent.

High points included Ko-Ko (James Berlyn) and the nobles of the chorus with ‘I’ve got a little list’. As is customary, this number sent up politics and politicians real and imagined. Neither state nor federal MPs were spared. I previously knew James Berlyn only as a dancer, but this role was a revelation – his singing and acting contributed a great deal to the production’s success.

Elsie Gangemi, Erin Bussanich and Fleuranne Brockway, as our ‘three little maids from school’ had voices that blended beautifully, and when they were joined by Richard Symons for ‘Brightly dawns our wedding day’ the quartet came as close to perfection as one would wish to hear. Laura Pitts as Katisha gave us an interpretation of rejected love that was far beyond her years. The elderly lovelorn lady was brought to life by her characterisation and her utterly lovely rendition the two arias that reveal Katisha’s character, ‘With aspect stern and gloomy stride’ and ‘Alone and yet alive’. Yum-Yum and Nanki-Poo offered to insult Ko-Ko by means of cash or paypal, then Christopher Waddell in the title role brought in fun references to our two local AFL teams, Eagles and Dockers. Pitts and Berlyn brought the show to a touching close with Willow, Tit-Willow’ and ‘There is beauty in the billow of the blast’. 

In short, there was never a dull moment. Ian Westrip and the twenty-three piece orchestra did a great job with Sullivan’s score. It is always difficult to get the right balance in a put-together orchestra and the ensemble was, perhaps, a little light in the strings department, but they handled the work with such aplomb that the deficiency would only be noticeable if you were looking for it.

Sarah Chirichilli’s costumes were a clever combination of traditional Japanese for the older characters and modern outfits for the younger ones. There were hints of commentary on the Westernisation of Japan, especially in the scene in which Yum-Yum briefly tries on a traditional wedding kimono and almost immediately discards it.

The make-up, sadly, was less successful, mainly due to the strange white semi-circles under the eyes. It was an interesting experiment, but from out front it didn’t make the performers look Japanese: it just looked weird!

ICW Productions aims to become a full-time professional company. While this is an ambitious undertaking, this excellent ensemble is deserving of every success. Funding bodies, take note!