The Mikado at Buxton: three encores hold the audience’s attention

United Kingdom Buxton International Gilbert & Sullivan Festival [1] – The Mikado: Soloists and Chorus of the National Gilbert & Sullivan Opera Company, National Festival Orchestra / John Andrews (conductor). Buxton Opera House, Derbyshire, 5.8.2026. (RW)

It is unusual to rave over a non-traditional performance of this 1885 comic opera, but here at the Buxton Festival Jeff Clarke’s production was great fun and impressively fresh. Musically, Sullivan’s score was traditionally performed as written and well played by the Festival Orchestra (leader Sally Robinson).

Remembering that the star comedian, Ko-Ko, is described by Gilbert as ‘a cheap tailor’ the curtain rises on a tailor’s workshop to reveal members of the men’s chorus sitting at rows of sewing machines where they run-up colourful garments during the opening chorus. Pish-Tu is their overseer. I found their use of Harold Lloyd style glasses both amusing and appropriate. Nanki-Poo wanders into the workshop wearing a military bandsman’s jacket and ripped white jeans. The workers’ reaction to the trombone he is carrying is a source of merriment when he enquires about the whereabouts of Yum-Yum.

Pooh Bah (Doyle Grant), as a slimmed down version of the traditional D’Oyly Carte character is more dignified than image we are generally know. Exotically attired, he successfully carries the burden of his post. An energetic reading of Gilbert’s libretto sets the scene for Ko-Ko’s entrance and an abundance of comic pranks with clever asides.

An outstanding contribution to the opera is made by Simon Butteriss as Ko-Ko. He is turned out as a fashionable Versace style figure — skintight jeans, short-cropped hair and glitter shoes to give us the impression of a dapper Ko-Ko. His very witty, ‘I’ve got a Little List’ was clearly delivered and brought the house down. The chorus of schoolgirls unexpectedly appear in wigs of strong colour, lampshade dresses and wielding hockey sticks — lively, but not quite St Trinians!

The Mikado of Japan (Ben McAteer) arrived with a smartly turned out retinue. His appearance was reminiscent of a Christmas wooden Nutcracker with ‘Aunt Sally’ cheeks. With superb voice, ‘My object all sublime’ brought in modern references to those things that generally irritate us. The fresh words unexpectedly lifted the number from its tired lyrics.

Upholding D’Oyly Carte tradition, ‘Here’s a how-de-do’ was given three encores with comic muppet glove-puppets appearing over a hedge to interact with Ko-Ko. The trio’s accompanying dance routine ends in a mess until the third reprise when the dance’s perfection signaled an end to any more encores.

The singing was strong by all principals, but especial mention should be made of ‘The Sun whose Rays’ number which was sung to perfection by Eleanor Sanderson-Nash, as was ‘Tit Willow’ when Ko-Ko appeals to Katisha for clemency. Both sang their third verses in pianissimo yet their voices carried across the audience’s appreciative silence. I liked Katisha’s voluminous character in Act II, her stunning crimson dress and on-stage presence dwarfing her miserable suitor, admirably.

It is clear that considerable thought had gone into the shaping of these colourful, intimate settings with good lighting. Topiary bushes shaped as top-hatted tailor’s dummies and a handy pair of steps helped to further the amusement. Throughout, there was much individual business by principals and chorus that sufficiently enriched the performance to make the occasion a truly memorable evening.

Raymond Walker

Featured Image: ‘But youth of course must have its fling’ © Charles Smith

Production:
Director – Jeff Clarke
Set design – Gabriella Csanyi-Willis
Costumes – Harriet Ravdin
Lighting – Matthew Cowan
Choreography – Jenny Arnold

Cast:
The Mikado of Japan – Ben McAteer
Nanki-Poo – David Webb
Ko-Ko – Simon Butteriss
Pooh-Bah – Grant Doyle
Pish-Tush – Giles Davies
Yum-Yum – Eleanor Sanderson-Nash
Pitti-Sing – Martha Jones
Peep-Bo – Sophia Parker
Katisha – Gaynor Keeble