A whimsical, irreverent, slightly chaotic reimagining of The Mikado that successfully swaps outdated tropes for unlikely magic. Summary
Rating
Good!
Forbear Theatre, champions of Gilbert & Sullivan, mark their 10th anniversary with a new Mikado. Cleverly sidestepping the problematic colonial elements of a fictionalised Japanese setting written in the 1880s, Forbear has relocated the action to an entirely original, fantastical realm. Arthur Sullivan’s sweeping score and W. S. Gilbert’s literary wit remain intact, but the dated racial caricatures, and those silly Poo & Yum names, are swept away. Everyone wins. Except women, probably, but The Mikado’s commentary on marriage might have to wait for another day.
Forbear’s bold new setting is a magical, faraway forest kingdom lit by fairy lights and peopled by fauns and the occasional fox. A Lord of the Rings, Narnia and Midsummer Night’s Dream mashup won’t be everyone’s cup of tea, but there’s no denying it adds interest to an operetta many will feel over-familiar with. It’s hard to be sure which school they attend, but the three little maids, for example, appear as Elf warrior princesses, complete with pointy ears and attitude. It’s a delightful surprise. The entire cast is outfitted in eclectic, slightly excessive costumes. There’s a mix of species amongst the townspeople, a feline figure appears who might easily have wandered in from the Cats musical, heads are resplendent with horns of varying sizes, and mysterious figures hover in black hooded robes. There are also feathers, cumbersome-looking millinery, net, sequins, fur, and wigs aplenty.
Rachel Middle, who wears many hats as director, choreographer, lead performer, and costume designer, has perhaps raided the dressing-up box a little too enthusiastically. I fear someone’s granny might also be missing her curtains. There is a lot going on, folks. The same spirit affects Middle’s direction and choreography. There’s no real need for arms and legs to flail quite as much as they do. The cast, big for a small fringe stage, is asked to dance, skip, and generally caper, often in circles, more than I suspect they need to. I longed for everyone to stand still more, or at least not stand in front of each other quite so much. Middle’s calmer scenes are unquestionably her most successful.
Comic highlights abound. The dynamic between William Remmers as the Lord High Executioner (here named Klo-cow) and David Jones as the opportunistic P’fugl-fa (Pooh-bah) is a delight. Remmers enjoys the tradition of updating his Little List with contemporary references. Look away now if you are one, but he pointedly suggests G&S purists deserve the chop. This production is unapologetically irreverent, inviting everyone to have fun and embrace the silliness, snobbery-free.
We mustn’t forget the musical performances. Pianist Daniel Lee Chappell sits alone stage-side, unobtrusively but wholly successfully providing accompaniment. John Faal is superb as the wandering minstrel, here renamed from Nanki-poo to the more princely Æthel-Rún. Kathleen Brenner gives a standout performance as Kottilska (Katisha), bringing depth and poignancy to ‘Alone, and Yet Alive’ in particular. Talented Dan Cavendish’s fearless Act Two turn as a playful, devilish Mikado is slyly funny without missing a beat. It’s very easy to forgive Forbear’s Mikado for its excesses and clumsier moments. It is so charming and quietly rather brilliantly subversive. Just don’t tell the purists. They’ll only spoil the fun.
Written by Gilbert & Sullivan
Directed & Choreographed by Rachel Middle
Musical Direction by William Remmers
Costume Design by Rachel Middle
Set & Props by Dan Cavendish
Stage Management by Robyndra Allen
The Mikado plays at The Drayton Arms until Saturday 24 May as part of a UK tour
