London review: THE MIKADO English National Opera at the London Coliseum

By Toby Zinman

For the Inquirer

In my quest for the experience of "full-on British" as it is known here, Gilbert & Sullivan's Mikado seemed irresistible; who knows what might be next—fish and chips wrapped in newspaper? an excursion to Brighton for a panto? a cricket match? Self-satire is the theme of this evening, which spent in this gorgeous opera house, was delightful.

Part musical theater, part comic opera, this late 19^th century show is not only beloved by the British public (many of whom seem to know all the delightful and complicated lyrics), but this was the 15^th revival of Jonathan Miller's legendary production. Miller (now 81) appeared at the end for many ecstatic curtain calls.

With an opulent set—an all-white Grand Hotel— an enormous cast, and a chorus of singers and dancers reminiscent of Busby Berkley movies, it is a stunning spectacle. And, impressively, with thousands in the audience and millions watching the live broadcast, nobody wore a mike.

The plot is preposterous: the son of the tyrannical Mikado of Japan (Robert Lloyd), Nanki-Poo (Anthony Gregory) is in love with Yum-Yum (glorious-voiced Mary Bevan). They cannot marry because Yum-Yum is betrothed to Ko-Ko, the Lord High Executioner played with wondrous gusto by Richard Suart, wearing a hair-do and moustache that hover somewhere between Charlie Chaplin and Hitler.  There are, of course, disguises ("a wandring minstrel I, a thing of shreds and patches") and last-minute rescues.

G & S were satirizing Victorian English society, with its prudery and political privileges, and depending on its ignorance of Japan; Miller's dazzling re-invention nicely sidesteps political incorrectness and concentrates on the fun.