Friday 8th and Saturday 9th April 2022
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Opera South East presented...
The Mikado
Comic Opera, Sung in English with Chorus and Orchestra
Opera South East will be performing Gilbert & Sullivan's ' The Mikado' with the Sussex Concert Orchestra
at Hastings White Rock Theatre on Friday 8th and Saturday 9th April 2022 - curtain up 7.30pm
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Director: Denis Delahunt
Conductor: Kenneth Roberts One of the most popular and humorous operas ever written, The Mikado is always a treat. It satirises Victorian British society, customs and pretensions through a farcical Gilbertian plot brimming with wit and sharp observation, all under the disguise of the Japanese Imperial Court of long ago.
In this topsy-turvy world, flirting is punishable by death, and KoKo, the hapless Lord High Executioner, has much on his mind, including trying to avoid his own decapitation! A tale of love and deception, with many memorable songs and plenty of opportunity to poke fun at 21st century Britain and its leading establishment and political figures. Who can we be thinking of? Plus ca change, plus c’est la meme chose! This will be a colourful production, with fabulous costumes and brilliant music. A feast for the senses....what a great way to spend a Spring evening! Directed by Denis Delahunt, and conducted by Kenneth Roberts who will be joined by the Sussex Concert Orchestra in the pit for this wonderful feast of music and drama, and of course the chorus of Opera South East singing on stage, with Principal performers noted below...
The Mikado Box Office and TicketsTickets: £21, £17, £13
Pre-show TalkThere will be a pre-show talk from the Director 6pm on Saturday April 9th 2022. This is free and open to all ticket holders from both evenings and lasts about 20 minutes.
The Director - Denis Delahunt
Denis has been involved with local Sussex operatic societies for many years. Indeed, last century he played the part of Nanki Poo with Battle Light Opera Group. His singing teacher at the time was the late Molly Townson, with whom he later performed in Soiree, an evening of Edwardian entertainment, which he also wrote and directed.
He has spent most of the last 25 years working in the theatre – with occasional forays into film and TV - mostly in London. He trained in acting and singing on the Baylis programme at the ENO and followed that with performances in a number of operas at the London Coliseum. He has appeared in both modern plays and restoration comedies, playing Sir Anthony Absolute in The Rivals and Sir Harcourt Courtly in London Assurance, the latter at the Dublin Theatre Festival, both to critical acclaim. His favourite roles have tended to come in Shakespeare productions, including Feste in Twelfth Night which toured the Middle East; Leonato in Much Ado About Nothing; Capulet in Romeo and Juliet, and Duke Vincentio of Vienna in Measure for Measure. His playing of Polonius in Hamlet at the Edinburgh Festival a year or two back led to his being short-listed for an acting award, which was a pleasant surprise. He worked with Howard Goodall on his musical version of A Winter’s Tale, playing the shepherd who finds Perdita’s tiny baby self and adopts her, and enjoyed the lead role of the Chairman in the recent revival of The Mystery of Edwin Drood at the Arts Theatre, in which he was required to both sing and dance, sometimes at the same time. He has been lucky enough to work with some outstanding directors and tries to bring that experience to bear on his own directing work. |
Box office 0343 310 0031
Mikado rehearsals at the White Rock Theatre, 6 April 2022. Filled to the brim with girlish glee - Three little maids from school. Photos courtesy of Mark Duncan.
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The CastPrincipals
David Woloszko
The Mikado of Japan David is a professional opera singer from Sydney, Australia based in Bexhill on Sea and have sung Prince Gremins Aria for over 15 years and also performed and covered the role in Russian. David is a Graduate of Sydney Conservatorium of Music, and the Queensland Conservatorium of Music. and made his debut as Don Alfonso in Così fan tutte with Opera Queensland, going on to sing in La Bohème, and Rigoletto before his UK debut in 2004 as Bartolo Le Nozze di Figaro and José Castro in La Fanciulla del West for Opera Holland Park, and was involved in several ENO Baylis education projects, including Pirates of Penzance and A Midsummer Night’s Dream with Gareth Malone. After many roles he returned to Opera Holland Park for the role of Benoit in La Boheme. Last year David performed as Prince Gremin in OSE's production of Eugine Onegin David is a welcome return to Hastings audiences, who astonished in the gentle and sympathetic role of Dr Grenville in last year's production of La Traviata. A fuller biography of David's can be found here... 
Kristian Thorkildsen
Nanki-Poo, The Mikado's son, disguised as a wandering minstrel, and in love with Yum-Yum Kristian Thorkildsen is a 21-year-old Tenor from Hastings, East Sussex, who's vocal interest was influenced through singing in his local church, St Peters Bexhill, as a young chorister. After study at the Royal College of Music as a junior, participating in one of London’s finest youth choirs, Parry Voices, he is now a student at the University of Chichester Conservatoire, studying BMus Vocal Performance, where he focuses on classical repertoire, and a choral scholar at Arundel Cathedral. In Chichester took part in choral groups including Chamber choir and Otter consort. His most recent vocal achievement was as Acis in Otter Consort’s performance of Handel’s 'Acis & Galatea'. He is also a cellist - a frequent member of the University Baroque orchestra and recently led the cello section in the 'Spectre Orchestra'. 
Oscar Smith
Ko-Ko - Lord High Executioner of Titipu Oscar Smith is now based in Hastings, East Sussex after studying Vocal Studies at Chichester University, training as a classical vocalist and specialising in Extended Vocal Techniques during the year he spent studying towards a Masters. As well as being a Vocalist, Oscar also plays regularly as an accordionist, pianist and organist and works as a Musical Director and conductor for various choirs and musical ensembles. Upcoming productions include, Bloom Britainniawith Barefoot Opera, The Magic Flutewith Ensemble Orquestra and Fiddler on the Roof with Battle Light Opera Group. Last year, Oscar played the role of Baron Douphol in OSE's production of La Traviata 
Will O'Brien
Pooh-Bah, A Noble Lord - Lord High Everything Else Will lives in Tunbridge Wells and is making his debut with OSE. This is Will’s third time performing in The Mikado. In 1998, he played a random Japanese citizen. In 2014, he played Koko in a production with Brent Opera. He has also played Guglielmo and Don Alfonso (Così Fan Tutte), Leporello and Masetto (Don Giovanni), Papageno (The Magic Flute), Sergeant Belcore (L’Elisir d’Amore), The Father (Hansel and Gretel), Lindorf and Coppélius (Les Contes d’Hoffmann), Publio (La Clemenza di Tito), Betto and Marco (Gianni Schicchi) and The Earl of Mountararat (Iolanthe). Will Studied Opera performance at Morley College and later at the Associated Studios (both in London). Will has a degree in astrophysics. A fuller biography on Will can be found here... 
Richard Moore
Pish-Tush, A Noble Lord Richard has performed with local groups for many years. He has played many leading roles in light opera with Battle Light Opera Group and in drama and farce with Sedlescombe players. Particular favourites include the Lord Chancellor in Iolanthe, Robin Oakapple in Ruddigore, John Wellington Wells in the Sorcerer and Nathan Detroit in Guys and Dolls. He also enjoys choral work, singing regularly with Ryesingers 
Louisa Alice-Rose
Yum Yum, one of the Three Sisters, wards of Ko-Ko Louisa Alice-Rose is a highly versatile soprano and actress, studying with vocal coach Elizabeth Harley from the age of 6. Her West End debut at aged 8 was in Les Miserables at The Palace Theatre. At aged 9, Louisa played the role of Tilly in the World Première performance of The Bear by Howard Blake. In 2019 Louisa was one of the final 6 singers at the Llangollen Eisteddfod Pendine International Voice of the Future. With nominations for a Classic BRIT Award and collaborated with composer Lyndon Samuel to record and release three new songs, two of which were top of the iTunes Classical Charts. Louisa’s operatic highlights include Kate, The Pirates of Penzance, with Kentish Opera and Grim’s Dyke Opera at W.S. Gilbert’s House; Berta, The Barber Of Seville, with Surrey Opera; Sara, Tobias and the Angel, Jonathan Dove; Mimi, La Boheme, excerpts with London Cantamusica; Emma Jones, Street Scene, Kurt Weill with RNCM; Jou-Jou, The Merry Widow, RNCM; Mignon, Mignon, Thomas, RNCM Excerpts; Dorabella, Cosi Fan Tutti, RNCM Excerpts. A fuller biography of Louisa can be found here... Ruth Parsons
Pitti-Sing, one of the Three Sisters, wards of Ko-Ko Ruth is a professionally trained performer who studied at the University of Chichester. After graduating from university Ruth has gone on to do many performances in the local area, such as Valencienn in the merry widow, and most recently hodel in fiddler on the roof. It has been hard in last year and Ruth is looking forward to being back doing a Gilbert and Sullivan 
Maya Godlonton-White
Peep-Bo, one of the Three Sisters, wards of Ko-Ko Maya’s first appearance was with the BLODS at the age of 2 1/2 in Brigadoon. She continued to be in shows such as: The Likes Of Us, Annie, Dick Whittington, Jekyll & Hyde, La Traviata, King and I, School of Rock, Sound Of Music and Shrek the musical. Five years ago Maya successfully auditioned in the West End for The Secret Garden. The following year she got into the West End again for 13: The Musical that went on tour to Cornwall at the Minack Theatre. Maya has done workshops at Italia Conti, Laine Theatre Arts, Glyndebourne and Opera South East. 
Lesley Moore
Katisha, an elderly Lady, in love with Nanki-Poo Katisha is Lesley’s third role with Opera South East, having played Mercedes, Carmen and Kate, Madame Butterfly. Lesley has sung principal roles with many other local groups, including Battle Light Opera Group, Winchelsea Singers, Rye Singers and Simply Opera. She has played virtually all of the Gilbert & Sullivan soprano leads (most several times), and has directed Yeomen of the Guard. Other light opera and operatic principal roles include (amongst others) Majenka, The Bartered Bride, Rosalinda and Adele, Die Fledermaus, Michaela, Carmen, Mother, Amahl and the Night Visitors, Anna and Valencienne, The Merry Widow, Helene, La Belle Helene and Despina, Cosi fan tutte, as well as Eliza Doolittle, My Fair Lady and Frumah Sarah, Fiddler on the Roof. Lesley has performed in many recitals and cabarets, in OSE concerts and as an oratorio soloist. She studied singing with Molly Townson, was awarded the ABRSM Diploma in Singing Performance and won the Singing Gold Medal at Hastings Musical Festival, of which she is now Chair. Henry Smaldon
Go-To, Attendant for Ko-Ko |
I am a silly little goose - Katisha falls for Ko Ko
Notes for EditorsOpera South East now welcomes Denis Delahunt to direct this April's production of G&S's The Mikado.
This year marks OSE's twenty third birthday and, under our earlier name of Hastings Opera, our forty second birthday and this will be our 67th operatic production.
Kenneth Roberts was Conductor at the very start of OSE, and has not missed one production in all these years; he will be joined by the Sussex Concert Orchestra in the pit for this wonderful feast of music and drama. OSE have produced The Mikado twice before:
True love triumphs for Yum Yum and Nanki Poo
The Mikado himself – in control. A more humane Mikado never did in Japan exist
OSE ChorusChorus of School Girls, Nobles, and Titipudlians
Gillian Muhlemann, MaryAnn Joyes, Miranda Taylor, Pat Horwill, Sarah Taylor, Beatrice Dixon, Judith Bevan, Liz Webb, Maggie Roberts, Margaret Smart, Maureen James, Ruth Menzinger, Vivienne Watts, Brian Knight, Gerald Hewson, Malcolm Atfield, David Swinhoe, David Thompson, Jayden Vicarey, John Rycroft, Alfie Saunters, Che Shand, Henry Smalldon, Jem Grimley The Sussex Concert Orchestraconducted by Kenneth Roberts: -
Violin 1
OSE - The Company, The MikadoDirector - Denis Delahunt
Conductor - Kenneth Roberts Stage Manager - Kath Keep Stage Manager for White Rock Theatre - Adam Harkin Assistant Stage Manager - Andrew Knowles-Baker Set Construction/Design - Kath Keep/Andrew Knowles-Baker Lighting Design - Denis Delahunt Lighting Technician Properties - assisted by Malcolm Atfield and Margaret Smart Wardrobe - Miranda Taylor Assisted by - Lesley Moore Make up and hair - Celina Zomer Programme - John Rycroft Artwork - Julia Bovee Website - Greg Solomon Programme design and printed by- Impact Design & Print |
Kenneth Roberts, Music Director and SCO Conductor
Kenneth Roberts
Conductor/Musical Director
Kenneth Roberts was born in Hastings and educated at York University where he gained BA and MA degrees in music. He works as Musical Director for numerous companies at home and abroad and has conducted over 250 opera, ballet and other theatrical productions. He has played and conducted at many prestigious venues including The Royal Albert Hall, The Festival Hall, The Britten Theatre, Kensington Palace and Hampton Court. His second opera, Mister Butterfly, which he wrote in 1994 was premiered in Hong Kong and subsequently performed at the Edinburgh Festival, and featured in a documentary shown by BBC television and BBC World Service Satellite.
Between 2001-2011 he worked at the University of New Hampshire, USA, where he directed a new African Musical which he was commissioned to write and also composed music for an award-winning ‘international’ children’s piece. He was also musical director and conductor for Plymouth State University’s Educational Theatre Collaborative. In 2002 he fulfilled a commission from the Purcell School in association with the Vaughan-Williams Trust as part of their centenary celebrations to mark the birth of Sir William Walton and in 2005 he completed a commission to write a ballet based on the novel The Trumpet Major by Thomas Hardy. In 2010 he also contributed music for the recently published musical version of 'Pollyanna' and also became a BIFF (British and International Federation of Festivals) adjudicator.
His highly acclaimed reduced orchestral arrangements of operatic scores by Mozart, Rossini, Verdi, Puccini and others are currently being played all over the world and are available from www.smallscores.com. In between times he has enjoyed giving his series of lecture recitals around the country at music clubs, and on cruise liners on subjects ranging from Mozart to ‘Jelly Roll’ Morton and has just released a CD of piano music entitled ‘Around the World in 80 Minutes’.
A fuller biography of Ken can be found here...
Conductor/Musical Director
Kenneth Roberts was born in Hastings and educated at York University where he gained BA and MA degrees in music. He works as Musical Director for numerous companies at home and abroad and has conducted over 250 opera, ballet and other theatrical productions. He has played and conducted at many prestigious venues including The Royal Albert Hall, The Festival Hall, The Britten Theatre, Kensington Palace and Hampton Court. His second opera, Mister Butterfly, which he wrote in 1994 was premiered in Hong Kong and subsequently performed at the Edinburgh Festival, and featured in a documentary shown by BBC television and BBC World Service Satellite.
Between 2001-2011 he worked at the University of New Hampshire, USA, where he directed a new African Musical which he was commissioned to write and also composed music for an award-winning ‘international’ children’s piece. He was also musical director and conductor for Plymouth State University’s Educational Theatre Collaborative. In 2002 he fulfilled a commission from the Purcell School in association with the Vaughan-Williams Trust as part of their centenary celebrations to mark the birth of Sir William Walton and in 2005 he completed a commission to write a ballet based on the novel The Trumpet Major by Thomas Hardy. In 2010 he also contributed music for the recently published musical version of 'Pollyanna' and also became a BIFF (British and International Federation of Festivals) adjudicator.
His highly acclaimed reduced orchestral arrangements of operatic scores by Mozart, Rossini, Verdi, Puccini and others are currently being played all over the world and are available from www.smallscores.com. In between times he has enjoyed giving his series of lecture recitals around the country at music clubs, and on cruise liners on subjects ranging from Mozart to ‘Jelly Roll’ Morton and has just released a CD of piano music entitled ‘Around the World in 80 Minutes’.
A fuller biography of Ken can be found here...
Director's Notes
In 1907, twenty years or so after The Mikado was first performed, Prince Fushimi visited Britain from Japan. The Lord Chamberlain banned performances of The Mikado in London for six weeks so as to avoid possible offence being caused or taken (very “woke” of him, given the date!) but the Prince had in fact been looking forward to seeing the show and was disappointed that he couldn’t. So…the Daily Mail (who else?) sent a Japanese reporter to Sheffield where a performance was taking place and he wrote “I came expecting to discover real insults to my countrymen. I found bright music and fun, but I could not find the insults”.
Quite clearly there is a world of difference between affectionate satire – fairy tales even – and actual bigotry or cultural appropriation. The Mikado is not about any real Japan: it is a satire on 19th century British society (which happens to have many similarities to 21st century British society) dressed up in a fictionalised exotic locale where flirting is punishable by death. Our approach has been to assume that the DNA of all the characters in our production could be traced back to almost anywhere in the world – or, indeed, to the sort of “proto-plasmal primordial atomic globule” from which Pooh Bah proudly claims to be a direct descendant! Our Mikado is set in an unspecified corner of Japan in a fairly recent decade of your own choosing. Sit back and enjoy the farcical goings-on in Titipu.
- Denis Delahunt
Quite clearly there is a world of difference between affectionate satire – fairy tales even – and actual bigotry or cultural appropriation. The Mikado is not about any real Japan: it is a satire on 19th century British society (which happens to have many similarities to 21st century British society) dressed up in a fictionalised exotic locale where flirting is punishable by death. Our approach has been to assume that the DNA of all the characters in our production could be traced back to almost anywhere in the world – or, indeed, to the sort of “proto-plasmal primordial atomic globule” from which Pooh Bah proudly claims to be a direct descendant! Our Mikado is set in an unspecified corner of Japan in a fairly recent decade of your own choosing. Sit back and enjoy the farcical goings-on in Titipu.
- Denis Delahunt
The Sussex Concert Orchestra
The Mikado - Synopsis
The synopsis of an opera is always worth reading before an opera performance, so do buy a programme on the night and get there in time to read it.
A year ago Nanki Poo, son of the Mikado but currently disguised as a musician, met Yum Yum and fell in love with her. But Yum Yum is betrothed to her guardian, KoKo, a cheap tailor. When Nanki Poo hears that KoKo has been condemned to death for flirting he believes that Yum Yum will now be free to marry him. KoKo has, however, been acquitted and raised to the rank of Lord High Executioner so, although Yum Yum is delighted to see Nanki Poo again, they cannot marry. The Mikado commands an execution to take place so KoKo persuades Nanki Poo to be the victim. Nanki Poo agrees provided that he can spend a month in married bliss with Yum Yum first. This solution is accepted by all until Katisha, an older woman to whom the Mikado has promised Nanki Poo in marriage, arrives and threatens to expose Nanki Poo’s real identity.
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Interval of 20 minutes
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The second act begins with preparations under way for the wedding of Nanki Poo and Yum Yum. However, KoKo discovers that by law the widow of a beheaded man must herself be buried alive so Yum Yum changes her mind about marrying Nanki Poo. The Mikado plans to visit Titipu so KoKo, who can’t bring himself to actually kill anyone, bribes Pooh Bah, a town dignitary, to swear that an execution has taken place. He then sends Yum Yum and Nanki Poo off to get married and stay out of sight. The Mikado arrives and is interested to hear about the apparent execution but Katisha notices that the name on the death certificate is Nanki Poo, her intended husband - and the Mikado’s son. She tells the Mikado what has happened and he sentences to death the three ‘culprits’ – KoKo, Pooh Bah and Pitti Sing. The only way to avoid this bloodbath is for Nanki Poo to come to life again and for KoKo to accept the lesser fate of marrying Katisha.
Special thanksSpecial Thanks and acknowledgements to:
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Audience Comments from past operasAudience reaction of OSE's production of Verdi's Macbeth (April 2016) :-
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NODA review of this Mikado production
What a delight after such a long period of forced theatre darkness to be back at The White Rock Theatre listening to the uplifting overture to The Mikado and the see OSE’s version of this satire and the farcical happenings in Titipu.
The simple single scene unfolds showing flats on one side as a Sushi Bar, small tables, and chairs outside, with beaded entrance separated by a flowering bush and angled to the other Titipu’s Town Hall signed telling residents flirting is punishable by death with downstage angled bench, blossoming bushes dressed to the side. With DNA’s traceable to practically anywhere in the world, the story takes place somewhere in Japan probably in fairly recent times with a mix of modern and addition of Japanese traditional wardrobe. Certainly colourful – schoolgirls with long socks, white blouses and using bright red hair ribbons and trims with Yum-Yum, Pitti-Sing and Peep-Bo in gymslips and traditional wedding kimonos. The wedding scene kimonos with vibrant sashes, men’s flowing jackets, and spectacular full kimono with hair dressed for Katisha was most elegant. An unusual take on The Mikado himself for his visit to the seaside in Hawaiian shirt, long shorts, trainers and a back-to-front baseball cap with a McDonalds ‘M’ plus bucket and spade - wonderful and matched bass, David Woloszko’s comic approach, enjoying both his sand dance and his ‘Mi-ya Sa-Ma,’ ‘A More Humane Mikado’ and ‘See how the Fates’. Wardrobe was arranged by Miranda Taylor assisted by Lesley Moore with properties supervised by Malcolm Atfield and Margaret Smart.
An interesting opening from the men of Titipu in their black trousers, white t-shirts performing morning PT exercises., and how nice to see some new young faces enjoying the experience of ‘If your want to know who we are.’ Having fled from court to prevent a marriage to a lady of a certain age, Katisha, disguised as a wandering minstrel, Nanki Poo, son of the Mikado has met Yum-Yum one of three sisters and wards of Ko-Ko and fallen in love with her. She, however, is betrothed to her guardian Ko-Ko. However, he had been condemned to death for flirting! Nanki-Poo learns from Pooh-Bah a corrupt public official and nobleman Pish-Tush that Ko-Ko has become Lord High Executioner which prevents decapitation and that he will in fact marry Yum-Yum that same day. To prevent losing his position he must find someone to execute, and Nanki-Poo bent on suicide as Yum-Yum is not available conjures a plan! As in G & S opera the complex story unfurls with many extraordinary escapades and of course a solution is found. Nanki-Poo and Yum-Yum are married so Katisha cannot have him and Ko-ko solves the problems by offering his hand to Katisha and after his rendition of ‘Willow, tit-willow’ she accepts. With licence to alter lyrics some wonderful up to date most amusing lines were delivered.
Present student at the University of Chichester Conservatoire tenor Kristian Thorkildsen gave a splendid performance in both script and lyric including ‘A Wandering Minstrel I’ ‘The Flowers that Bloom in the Spring’ and as part of the madrigal with the sisters and Pooh-Bah. The 'Three Little Maids’ trio from Louisa Alice-Rose, talented versatile Soprano, was strongly supported throughout by Ruth Parsons and Maya Godlonton-White, both a credit.
Ko-ko, Lord High Executioner was multi-talented Oscar Smith, playing this part with aplomb – simply dressed with waistcoat, master with his hat and a spring in his step. Most amusing current ‘I’ve Got a Little List.’ Polished performance.
A very enjoyable trio ‘I am so Proud’ came from Will O’Brien, Baritone attired in black, top hat and a rather large sparkling medallion hanging around his neck together with Ko-Ko and a very fine nobleman in bowler hat, all-rounder Richard Moore.
Lesley Moore, Soprano took on the role of Katisha and certainly showed us her wrath and I particularly liked her duet ‘There is Beauty' together with her solo ‘Alone, and yet alive.’
Singing and dialogue from the main characters in OSE tradition was first class and accompanied by the large Sussex Concert Orchestra under the expert baton of Ken Roberts this certainly was a welcome return to performance for the Society. With strong ensemble work the interpretation of the music and story was a credit to both Artistic Director Denis Delahunt who also created the lighting design and to MD Ken Roberts.
The simple single scene unfolds showing flats on one side as a Sushi Bar, small tables, and chairs outside, with beaded entrance separated by a flowering bush and angled to the other Titipu’s Town Hall signed telling residents flirting is punishable by death with downstage angled bench, blossoming bushes dressed to the side. With DNA’s traceable to practically anywhere in the world, the story takes place somewhere in Japan probably in fairly recent times with a mix of modern and addition of Japanese traditional wardrobe. Certainly colourful – schoolgirls with long socks, white blouses and using bright red hair ribbons and trims with Yum-Yum, Pitti-Sing and Peep-Bo in gymslips and traditional wedding kimonos. The wedding scene kimonos with vibrant sashes, men’s flowing jackets, and spectacular full kimono with hair dressed for Katisha was most elegant. An unusual take on The Mikado himself for his visit to the seaside in Hawaiian shirt, long shorts, trainers and a back-to-front baseball cap with a McDonalds ‘M’ plus bucket and spade - wonderful and matched bass, David Woloszko’s comic approach, enjoying both his sand dance and his ‘Mi-ya Sa-Ma,’ ‘A More Humane Mikado’ and ‘See how the Fates’. Wardrobe was arranged by Miranda Taylor assisted by Lesley Moore with properties supervised by Malcolm Atfield and Margaret Smart.
An interesting opening from the men of Titipu in their black trousers, white t-shirts performing morning PT exercises., and how nice to see some new young faces enjoying the experience of ‘If your want to know who we are.’ Having fled from court to prevent a marriage to a lady of a certain age, Katisha, disguised as a wandering minstrel, Nanki Poo, son of the Mikado has met Yum-Yum one of three sisters and wards of Ko-Ko and fallen in love with her. She, however, is betrothed to her guardian Ko-Ko. However, he had been condemned to death for flirting! Nanki-Poo learns from Pooh-Bah a corrupt public official and nobleman Pish-Tush that Ko-Ko has become Lord High Executioner which prevents decapitation and that he will in fact marry Yum-Yum that same day. To prevent losing his position he must find someone to execute, and Nanki-Poo bent on suicide as Yum-Yum is not available conjures a plan! As in G & S opera the complex story unfurls with many extraordinary escapades and of course a solution is found. Nanki-Poo and Yum-Yum are married so Katisha cannot have him and Ko-ko solves the problems by offering his hand to Katisha and after his rendition of ‘Willow, tit-willow’ she accepts. With licence to alter lyrics some wonderful up to date most amusing lines were delivered.
Present student at the University of Chichester Conservatoire tenor Kristian Thorkildsen gave a splendid performance in both script and lyric including ‘A Wandering Minstrel I’ ‘The Flowers that Bloom in the Spring’ and as part of the madrigal with the sisters and Pooh-Bah. The 'Three Little Maids’ trio from Louisa Alice-Rose, talented versatile Soprano, was strongly supported throughout by Ruth Parsons and Maya Godlonton-White, both a credit.
Ko-ko, Lord High Executioner was multi-talented Oscar Smith, playing this part with aplomb – simply dressed with waistcoat, master with his hat and a spring in his step. Most amusing current ‘I’ve Got a Little List.’ Polished performance.
A very enjoyable trio ‘I am so Proud’ came from Will O’Brien, Baritone attired in black, top hat and a rather large sparkling medallion hanging around his neck together with Ko-Ko and a very fine nobleman in bowler hat, all-rounder Richard Moore.
Lesley Moore, Soprano took on the role of Katisha and certainly showed us her wrath and I particularly liked her duet ‘There is Beauty' together with her solo ‘Alone, and yet alive.’
Singing and dialogue from the main characters in OSE tradition was first class and accompanied by the large Sussex Concert Orchestra under the expert baton of Ken Roberts this certainly was a welcome return to performance for the Society. With strong ensemble work the interpretation of the music and story was a credit to both Artistic Director Denis Delahunt who also created the lighting design and to MD Ken Roberts.
Photos from the First Dress Rehearsal of of The Mikado at the White Rock Theatre on 6 April 2022
photos kindly by courtesy of Mark Duncan