The Mikado @ King's Theatre, Edinburgh

The Edinburgh Gilbert and Sullivan Society's production of The Mikado reminds us of issues of class and culture

Review by Dominic Corr | 15 Mar 2019
  • The Mikado

Gilbert and Sullivan's most famous comic opera The Mikado – their much-performed tale of intrigue and romance – has regularly been the subject of claims of cultural appropriation and yet 130 years after its first performance, it remains a very popular comedic opera. Though the Edinburgh Gilbert and Sullivan Society (EDGAS) themselves include a delightful little punch at those who would see it off the stage in their production, their opinion of the show is quite evident.

Draped in Japanese iconography, The Mikado was written in 1885 as a way to offer disguised comment on high-class society in Victorian England, allowing Gilbert and Sullivan to ridicule the stuffy classes whilst avoiding censorship. Set in the fictional town Japanese of Titipu, where flirting has been made a capital crime, the opera follows the classic 'boy loves girl, girl loves boy, girl is engaged to the Lord High Executioner' trope. In 2019, it serves as a template for any topic a company wishes to scrutinise, and EDGAS have put an extraordinary amount of effort in making this their own version of The Mikado.

This version has a Caledonian stamp, including a rather delightful role for Pooh-Bah as the "Fursht Minishter". Their additions to Ko-Ko’s infamous ‘list of shall not be missed' provides commentary, laughs and insight and while it should feel dated, it's shockingly fresh. Simon Boothroyd's Pooh-Bah is easily the standout performance, especially when placed alongside Colin Povey and Claire Lumsden as Ko-Ko and Pitti-Sing. They enthral with the best comedic timing, expressions and deliveries.

Vocally there are no flaws to speak of, and Zorbey Turkalp’s titular Mikado perhaps the strongest vocal of the lot, easing into the bass effortlessly; at the other end of the spectrum are the light-hearted tones of Jennifer Murray as Yum-Yum. Whilst the ensemble may do well vocally, a few seem uncomfortable, and tend to mutter.

Paul Lazell’s fully three-dimensional set pieces offer space for the large cast and a richness of colour. Mike Pendlowski’s lighting design adds expected shades of red, but fireworks and an ethereal foaming projection onto the mesh are an unexpected delight. 

How Gilbert and Sullivan’s The Mikado should be utilised in current theatrical settings is for another discussion; for the time being, EDGAS’ revival is colourful, filled with talent and staged to their own taste. A few stand out performances set The Mikado high above other societal recitals.


The Mikado @ King's Theatre, Edinburgh, until Sat 16th Mar, more info: capitaltheatres.com/whats-on/mikado