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EspañolTHE MIKADO
Theatre poster for The Mikado
Setting the opera in Japan, an exotic locale far away from Britain, allowed Gilbert to satirize British politics and institutions more freely by disguising them as Japanese. Gilbert used foreign or fictional locales in several operas, including ''The Mikado'', ''Princess Ida'', ''The Gondoliers'', ''Utopia Limited'', and ''The Grand Duke'', to soften the impact of his pointed satire of British institutions.
Origins of the work
Gilbert and Sullivan's previous opera, ''Princess Ida'', ran for nine months — a short duration by their own standards. As ''Ida'' showed signs of flagging, producer Richard D'Oyly Carte realized that, for the first time in the partnership's history, no new opera would be ready when the old one closed. On March 22 1884, Richard D'Oyly Carte gave Gilbert and Sullivan contractual notice that a new opera would be required in six months' time.
Gilbert initially proposed a story for a new opera about a magic lozenge that would change the characters, which Sullivan found artificial and lacking in "human interest and probability", as well as being too similar to their previous opera, ''The Sorcerer''. It was not until May 8 1884 that Gilbert dropped the idea, and agreed to provide a libretto without any supernatural elements. (Gilbert eventually found a place for his "lozenge plot" in ''The Mountebanks'', written with Alfred Cellier in 1892.) It would take another ten months for the opera that was to become ''The Mikado'' to reach the stage. A revised version of their 1877 work, ''The Sorcerer'', coupled with their one-act ''Trial by Jury'' (1875), played at the Savoy while Carte and their audiences awaited their next work.
Cellier and Bridgeman (1914) first recorded the familiar story of how Gilbert found his inspiration:
:Gilbert, having determined to leave his own country alone for a while, sought elsewhere for a subject suitable to his peculiar humour. A trifling accident inspired him with an idea. One day an old Japanese sword which, for years, had been hanging on the wall of his study, fell from its place. This incident directed his attention to Japan. Just at that time a company of Japanese had arrived in England and set up a little village of their own in Knightsbridge.[4]
The story is an appealing one, but it is entirely fictional. Gilbert was interviewed twice about his inspiration for ''The Mikado''. In both interviews the sword was mentioned, and in one of them he said it was the inspiration for the opera, but Gilbert never said that the sword had ''fallen''. Moreover, Cellier and Bridgeman are incorrect about the Japanese exhibition in Knightsbridge, which did not open until January 10, 1885, almost two months after Gilbert had already completed Act I.[5]
Jones notes that "the further removed in time the writer is from the incident, the more graphically it is recalled."[6] Leslie Baily, for instance, tells it this way:
:A day or so later Gilbert was striding up and down his library in the new house at Harrington Gardens, fuming at the impasse, when a huge Japanese sword decorating the wall fell with a clatter to the floor. Gilbert picked it up. His perambulations stopped. 'It suggested the broad idea,' as he said later. His journalistic mind, always quick to seize on topicalities, turned to a Japanese Exhibition which had recently been opened in the neighbourhood. Gilbert had seen the little Japanese men and women from the Exhibition shuffling in their exotic robes through the streets of Knightsbridge. Now he sat at his writing desk and picked up the quill pen. He began making notes in his plot-book.[7]
The story was dramatized in more-or-less this form in the 1999 film, ''Topsy-Turvy''. However, even though the exhibition in Knightsbridge had not opened when Gilbert conceived of ''The Mikado'', the English craze for all things Japanese made the time ripe for an opera set in Japan. Gilbert said, "I cannot give you a good reason for our...piece being laid in Japan. It...afforded scope for picturesque treatment, scenery and costume, and I think that the idea of a chief magistrate, who is...judge and actual executioner in one, and yet would not hurt a worm, may perhaps please the public."[8]
Themes of death in the comedy
''The Mikado'' is a comedy that deals with themes of death and cruelty. This works only because Gilbert treats these themes as trivial, even lighthearted issues. For instance, in Pish-Tush's song "Our great Mikado, virtuous man", he sings: "The youth who winked a roving eye/Or breathed a non-connubial sigh/Was thereupon condemned to die —/He usually objected." The term for this rhetorical technique is meiosis, a drastic understatement of the situation. Other examples of this are when self-decapitation is described as "an extremely difficult, not to say dangerous, thing to attempt", and also as merely "awkward". When a discussion occurs of Nanki-Poo's life being "cut short in a month", the tone remains comic and only mock-melancholy. Burial alive is described as "a stuffy death". Finally, execution by boiling oil or by melted lead is described by the Mikado as a "humorous but lingering" punishment.
Death is treated as a businesslike event. Pooh-Bah calls Ko-Ko, the Lord High Executioner, an "industrious mechanic". Ko-Ko also treats his bloody office as a profession, saying, "I can't consent to embark on a professional operation unless I see my way to a successful result." Of course, joking about death does not originate with ''The Mikado''. The plot conceit that Nanki-Poo may marry Yum-Yum if he agrees to die at the end of the month was used in ''A Wife for a Month'', a 17th century play by John Fletcher. Ko-Ko's final speech affirms that death has been, throughout the opera, a fiction, a matter of words that can be dispelled with a phrase or two: being dead and being "as good as dead" are equated.
Controversy; political correctness
Not actually a Japanese opera
To the extent that the opera is inspired by, and purports to portray, Japanese culture, style, and government, it draws on Victorian notions of the subject, gleaned from the general British fascination with Japanese fashion and art that immediately followed the beginning of trade between the two island empires, and the popular Japanese exhibition in Knightsbridge, London, that Gilbert visited during rehearsals for ''The Mikado'', and which Ko-Ko uses as Nanki-Poo's "destination" in Act II. The song "Miya sama", however, is a version of a Japanese war march composed in the Meiji Era.[9] Giacomo Puccini later incorporated it into ''Madama Butterfly''. The characters' names in the play are not Japanese names, but rather (in many cases) English "baby-talk" or simply dismissive exclamations. For instance, a pretty young thing is named ''Pitti-Sing''; the beautiful heroine is named ''Yum-Yum''; the pompous officials are ''Pooh-Bah'' and ''Pish-Tush''; the hero is called ''Nanki-Poo'', baby-talk for "handkerchief"[10] The headsman's name, ''Ko-Ko'', is similar to that of the scheming Ko-Ko-Ri-Ko in ''Ba-ta-clan'' by Jacques Offenbach. Gilbert sought authenticity in the production, costumes, and in the movements and gestures of the actors. To that end, Gilbert engaged some of the Japanese at the Knightsbridge village to advise on the production and to coach the actors. "The Directors and Native Inhabitants" of the village were duly thanked in the program that was distributed on the first night.[11]
Richard Temple in the title role
:Gilbert pursued and persecuted the evils of modern England till they had literally not a leg to stand on, exactly as Swift did.... I doubt if there is a single joke in the whole play that fits the Japanese. But all the jokes in the play fit the English.... About England Pooh-bah is something more than a satire; he is the truth.[13]
Japanese Prince Komatsu Akihito, who saw an 1886 production in London, took no offence. When Prince Fushimi Sadanaru made a state visit in 1907, the British government banned performances of ''The Mikado'' from London for six weeks, fearing that the play might offend him — a manoeuvre that backfired when the prince complained that he had hoped to see ''The Mikado'' during his stay. A Japanese journalist covering the prince's stay attended a proscribed performance and confessed himself "deeply and pleasingly disappointed." Expecting "real insults" to his country, he had found only "bright music and much fun." The J. C. Williamson G&S company toured Japan in the 1920s, likely performing ''The Mikado'' among other Gilbert and Sullivan works. After World War II, ''The Mikado'' was staged in Japan in a number of private performances. The first public production, given at three performances, was in 1946, conducted by the pianist Jorge Bolet for the entertainment of American troops. The set and costumes were opulent, and the principal players were American, Canadian, and British, as were the women's chorus, but the male chorus and the female dancing chorus were Japanese.[14] General Douglas MacArthur banned a 1947 Tokyo production,[15] but other productions went forward by permission of the copyright holders.
In recent decades, various Japanese productions of the work have been staged in Japan. In 2001, the town of Chichibu (秩父), Japan, under the name of "Tokyo Theatre Company", produced an adaptation of ''The Mikado'' in Japanese. Locals say that Chichibu was the town that Gilbert had in mind when he named his setting "Titipu", but there is no hard evidence for this theory. Rokusuke Ei, a Japanese broadcaster, lyricist and essayist, was convinced that a peasant uprising in Chichibu in 1884 inspired Gilbert to set the opera in Japan.[16] Although the Hepburn system of transliteration (in which the name of the town appears as "Chichibu") is usually found today, it was very common in the 19th century to use the Kunrei system, in which the name 秩父 appears as "Titibu". Thus it is easy to surmise that "Titibu", found in the London press of 1884, became "Titipu" in the opera. Other Japanese researchers have concluded that Gilbert may simply have heard of Chichibu silk, an important export in the 19th century. In any case, the town's Japanese-language adaptation of ''The Mikado'' has been performed several times throughout Japan. In August 2006, the ''Chichibu Mikado'' was performed at the International Gilbert and Sullivan Festival in England,[17] and the same company continues to perform the adaptation on tour in Japan in 2007.
Alleged racism and sexism
In the song "As some day it may happen," sung by Ko-Ko in Act I, the character goes through a "little list" of many irritations with his society (hence Gilbert's). One of these is "the nigger serenader and the others of his race." Gilbert's reference was to blackface minstrels who were white entertainers in makeup. Also included in the list were "the lady novelist" (referring to a particular type of novelist earlier lampooned by George Eliot),[18] and "the lady from the provinces who dresses like a guy" (where ''guy'' refers to the dummy that is part of Guy Fawkes Night celebrations, hence a tasteless woman who dresses like a scarecrow).
These lines can be taken by modern audiences to have racist, sexist, or anti-feminist connotations, although they did not have the same connotations to the original Victorian audiences. To avoid distracting the audience with references that have become offensive over time, the lyrics are almost invariably modified in modern productions — at the very least, by replacing the word "nigger."
Gilbert himself started the tradition of replacing "the lady novelist" in revivals that he supervised, since by the early 1900s women writers were no longer "a singular anomaly." Many substitutions have been used, with no particular one becoming standard. Some productions go further, replacing other snippets, a verse or the entire song with references to contemporary annoyances, political figures, and current events. As Ko-Ko himself notes at the end of the song, "It really doesn't matter whom you put upon the list, for they'd ''none of 'em'' be missed!"
The standard replacement for "nigger serenader" is the only slightly less obvious "banjo serenader." This was suggested by lyricist A. P. Herbert in 1948 at Rupert D'Oyly Carte's instigation, after the original wording elicited protests during one of the Company's American tours. Herbert also suggested what has become the traditional wording in the Mikado's song ("A more humane Mikado") in Act II, with the words "blacked like a nigger" being replaced with "painted with vigour" in most modern productions.
There are other references in ''The Mikado'' that are sometimes altered simply to make the references more relevant to modern or non-UK audiences. One is Pooh-Bah's list of titles, which must be kept largely the same due to future references, but may be added to with modern positions, such as "Secretary of Homeland Security". Another is the Mikado's list of punishments and crimes in "A more humane Mikado", which might be made to include contemporary infractions, such as not turning one's cell phone off before entering a theatre.
Roles
Durward Lely as Nanki Poo
★ The Mikado of Japan (bass)
★ Nanki-Poo, ''His Son, disguised as a wandering minstrel, and in love with Yum-Yum'' (tenor)
★ Ko-Ko, ''The Lord High Executioner of Titipu'' (comic baritone)
★ Pooh-Bah, ''Lord High Everything Else'' (bass-baritone)
★ Pish-Tush, ''A Noble Lord'' (baritone or bass-baritone[19])
★
★ Yum-Yum, ''A Ward of Ko-Ko, also engaged to Ko-Ko'' (soprano)
★ Pitti-Sing, ''A Ward of Ko-Ko'' (mezzo-soprano)
★ Peep-Bo, ''A Ward of Ko-Ko'' (soprano)
★ Katisha, ''An Elderly lady, in love with Nanki-Poo'' (contralto)
★ Chorus of School-Girls, Nobles, Guards, and Coolies
Synopsis
'Act I'
★ Courtyard of Ko-Ko's Official Residence
Gentlemen of the Japanese town of Titipu are gathered ("If you want to know who we are"). A wandering musician, Nanki-Poo, enters and introduces himself ("A wand'ring minstrel, I"). He inquires about his beloved, the maiden Yum-Yum, a ward of Ko-Ko (formerly a cheap tailor). One of the gentlemen, Pish-Tush, explains that when the Mikado decreed that flirting was a capital crime, the Titipu authorities frustrated the decree by appointing Ko-Ko, a prisoner condemned to death for flirting, to the post of Lord High Executioner ("Our great Mikado, virtuous man"). Ko-Ko was "next" to be decapitated, and the Titipu authorities reasoned that he could "not cut off another's head until he cut his own off", and since Ko-Ko was not likely to try to execute himself, no executions could take place. However, all officials but the haughty Pooh-Bah proved too proud to serve under an ex-tailor, and Pooh-Bah now holds all their posts — and collects all their salaries. Pooh-Bah informs Nanki-Poo that Yum-Yum is scheduled to marry Ko-Ko on that very day ("Young man, despair").
Ko-Ko - 1926 costume design by Charles Ricketts
Ko-Ko receives news that the Mikado has decreed that unless an execution is carried out within a month, the town will be reduced to the rank of a village — which would bring "irretrievable ruin." Pooh-Bah and Pish-Tush point to Ko-Ko himself as the obvious choice for beheading, since he was already under sentence of death ("I am so proud"), but Ko-Ko protests that, firstly, it would be "extremely difficult, not to say dangerous," for him to attempt to execute himself, and secondly, it would be suicide, which is a "capital offence." Fortuitously, Ko-Ko discovers that Nanki-Poo, in despair over losing Yum-Yum, is preparing to commit suicide. After ascertaining that nothing would change Nanki-Poo's mind, Ko-Ko makes a bargain with him: Nanki-Poo may marry Yum-Yum for one month if, at the end of that time, he allows himself to be executed. Ko-Ko would then marry the young widow.
Everyone arrives to celebrate Nanki-Poo and Yum-Yum's union ("With aspect stern and gloomy stride"), but the festivities are interrupted by the arrival of Katisha, who has come to claim Nanki-Poo as her husband. However, the townspeople are much more sympathetic to the young couple, and her attempts to reveal Nanki-Poo's secret are drowned out by the shouting of the crowd. Outwitted but not defeated, Katisha makes it clear that she intends to return.
'Act II'
★ Ko-Ko's Garden.
"''His teeth, I've enacted,''
''Shall all be extracted''
''By terrified amateurs.''"
(Cartoon by W. S. Gilbert)
''Shall all be extracted''
''By terrified amateurs.''"
(Cartoon by W. S. Gilbert)
The Mikado and Katisha arrive in Titipu with little notice, but accompanied by a large procession ("A more humane Mikado"). Ko-Ko assumes that he has come to see whether an execution has been carried out. Aided by Pitti-Sing and Pooh-Bah, he gives a graphic description of the supposed execution ("The criminal cried") and hands the Mikado the certificate of death – signed and sworn to by Pooh-Bah as coroner and noting, slyly, that most of the town's important officers (that is, Pooh-Bah) were present at the "ceremony". However, the Mikado has come about an entirely different matter – he is searching for his son. When they hear that the Mikado's son "goes by the name of Nanki-Poo," the three panic, and Ko-Ko says that Nanki-Poo "has gone abroad." Meanwhile, Katisha is reading the death certificate and notes with horror that the person "executed" was Nanki-Poo. The Mikado (though expressing understanding and sympathy) ("See How the Fates") discusses with Katisha the statutory punishment "for compassing the death of the heir apparent" to the Imperial throne – something lingering, "with boiling oil ...or melted lead." With the three conspirators facing painful execution, Ko-Ko pleads with Nanki-Poo to return. Nanki-Poo fears that Katisha will order his execution if she finds he is alive, but notes that if Ko-Ko could persuade Katisha to marry him, then Nanki-Poo could safely "come to life again" ("The flowers that bloom in the spring"). Though Katisha is "something appalling," Ko-Ko has no choice: it is marriage to Katisha, or a painful death for all three.
Ko-Ko discovers Katisha mourning her loss ("Alone, and yet alive") and throws himself on her mercy. He begs for her hand in marriage, saying that he has long harboured a passion for her. Katisha initially rebuffs him, but is soon moved by his pleadings ("Tit-willow"). She agrees ("There is beauty in the bellow of the blast") and, once the ceremony is performed (by Pooh-Bah, the Registrar), begs mercy for him and his "accomplices" from the Mikado. Nanki-Poo and Yum-Yum then re-appear, to Katisha's impotent fury, but the Mikado deems everything to be "satisfactory", and so Titipu celebrates ("For he's gone and married Yum-Yum").
Musical numbers
Lithograph from ''The Mikado''
★ Overture (Includes "Mi-ya Sa-ma", "The Sun Whose Rays Are All Ablaze", "There is Beauty in the Bellow of the Blast", "Braid the Raven Hair" and "With Aspect Stern and Gloomy Stride")
Act I
★ 1. "" (Nanki-Poo and Men)
★ 2. "" (Nanki-Poo and Men)
★ 3. "" (Pish-Tush and Men)
★ 4. "" (Pooh-Bah, Nanki-Poo and Pish-Tush)
★ 5. "" (Ko-Ko and Men)
★ 5a. "" (Ko-Ko and Men)
★ 6. "" (Girls)
★ 7. "Three little maids from school are we" (Yum-Yum, Peep-Bo, Pitti-Sing, and Girls)
★ 8. "So please you, Sir, we much regret" (Yum-Yum, Peep-Bo, Pitti-Sing, Pooh-Bah, and Girls)[21]
★ 9. "Were you not to Ko-Ko plighted" (Yum-Yum and Nanki-Poo)
★ 10. "I am so proud" (Pooh-Bah, Ko-Ko and Pish-Tush)
★ 11. Finale Act I (Ensemble)
★
★ "With aspect stern and gloomy stride"
★
★ "The threatened cloud has passed away"
★
★ "Your revels cease!" ... "Oh fool, that fleest my hallowed joys!"
★
★ "For he's going to marry Yum-Yum"
★
★ "The hour of gladness" ... "O ni! bikkuri shakkuri to!"
★
★ "Ye torrents roar!"
Act II
★ 12. "Braid the raven hair" (Pitti-Sing and Girls)
★ 13. "" (Yum-Yum) (Originally in Act I, moved to Act II shortly after the opening night)
★ 14. "Brightly dawns our wedding day" (Yum-Yum, Pitti-Sing, Nanki-Poo and Pish-Tush)
★ 15. "Here's a how-de-do" (Yum-Yum, Nanki-Poo and Ko-Ko)
★ 16. "Mi-ya Sa-ma" ... "From every kind of man obedience I expect" (Mikado, Katisha, Girls and Men)
★ 17. "A more humane Mikado" (Mikado, Girls and Men) (This song was nearly cut, but was restored shortly before the first night.)
★ 18. "The criminal cried as he dropped him down" (Ko-Ko, Pitti-Sing, Pooh-Bah, Girls and Men)
★ 19. "See how the Fates their gifts allot" (Mikado, Pitti-Sing, Pooh-Bah, Ko-Ko and Katisha)
★ 20. "The flowers that bloom in the spring" (Nanki-Poo, Ko-Ko, Yum-Yum, Pitti-Sing, and Pooh-Bah)
★ 21. "Alone, and yet alive" (Katisha)
★ 22. "Willow, tit-willow" ("On a tree by a river") (Ko-Ko)
★ 23. "There is beauty in the bellow of the blast" (Katisha and Ko-Ko)
★ 24. "For he's gone and married Yum-Yum" ... "The threatened cloud has passed away" (Ensemble)
Productions
''The Mikado'' had the longest original run of the Savoy Operas. It also had the quickest revival: after Gilbert and Sullivan's next work, ''Ruddigore'', closed unexpectedly quickly, three operas were revived to fill the interregnum until ''The Yeomen of the Guard'' was ready, with ''The Mikado'' being revived just seventeen months after the first run closed.
It was revived again while ''The Grand Duke'' was in preparation. When it became clear that that opera was not a success, ''The Mikado'' was given at matinees, and the revival continued when ''The Grand Duke'' closed after just three months. In 1906–07, Helen D'Oyly Carte mounted a repertory season at the Savoy, but ''The Mikado'' was not performed, as it was thought that visiting Japanese royalty might be offended by it. However, it was included in Mrs. Carte's second repertory season, in 1908–09.
The first provincial production of ''The Mikado'' opened on July 27 1885 in Brighton, with several members of that company leaving in August to present the first authorized American production in New York. From then on, ''The Mikado'' was a constant presence on tour. From 1885 until the Company's closure in 1982, there was no year in which a D'Oyly Carte company (or several of them) was not presenting it.
In America, as had happened with ''H.M.S. Pinafore'', the first American productions were piracies, but once the authorised production opened in August 1885, it was a success, and Carte had several companies touring the show in North America. A production in Vienna, ''Der Mikado (Ein Tag in Titipu)'' opened in September 1886. Authorized productions were seen in France, Holland, Australia, Hungary, Spain, Belgium, Germany, Scandinavia, Russia and elsewhere.
After the Gilbert copyrights expired in 1962, the Sadler's Wells Opera mounted the first non-D'Oyly Carte professional production in England, with Clive Revill as Ko-Ko. Among the many professional revivals since then was an English National Opera production in 1986, with Eric Idle as Ko-Ko and Lesley Garrett as Yum-Yum, directed by Jonathan Miller.
The following table shows the history of the D'Oyly Carte productions in Gilbert's lifetime:
| Theatre | Opening Date | Closing Date | Perfs. | Details |
|---|---|---|---|---|
| Savoy Theatre | March 14 1885 | January 19 1887 | 672 | First London run. |
| Fifth Avenue and Standard Theatres, New York | August 19 1885 | April 17 1886 | 250 | Authorised American production. Production was given at the Fifth Avenue Theatre, except for a one-month transfer to the Standard Theatre in February 1886. |
| Fifth Avenue Theatre, New York | November 1 1886 | November 20 1886 | 3 wks | Production with some D'Oyly Carte personnel under the management of John Stetson. |
| Savoy Theatre | June 7 1888 | September 29 1888 | 116 | First London revival. |
| Savoy Theatre | November 6 1895 | March 4 1896 | 127 | Second London revival. |
| Savoy Theatre | May 27 1896 | July 4 1896 | 6 | Performances at matinees during the original run of ''The Grand Duke''. |
| Savoy Theatre | July 11 1896 | February 17 1897 | 226 | Continuation of revival after early closure of ''The Grand Duke''. |
| Savoy Theatre | April 28 1908 | March 27 1909 | 142 | Second Savoy repertory season; played with five other operas. Closing date shown is of the entire season. |
Historical casting
The following tables show the casts of the principal original productions and D'Oyly Carte Opera Company touring repertory at various times through to the company's 1982 closure:
| Role | Savoy Theatre 1885 | Fifth Avenue 1885 | Savoy Theatre 1888 | Savoy Theatre 1895 | Savoy Theatre 1908 |
|---|---|---|---|---|---|
| The Mikado | Richard Temple | F. Federici | Richard Temple | R. Scott Fishe2 | Henry Lytton |
| Nanki-Poo | Durward Lely | Courtice Pounds | J. G. Robertson | Charles Kenningham | Strafford Moss |
| Ko-Ko | George Grossmith | George Thorne | George Grossmith | Walter Passmore | Charles H. Workman |
| Pooh-Bah | Rutland Barrington | Fred Billington | Rutland Barrington | Rutland Barrington | Rutland Barrington |
| Pish-Tush | Frederick Bovill | Charles Richards | Richard Cummings | Jones Hewson | Leicester Tunks |
| Go-To | Rudolph Lewis | R. H. Edgar | Rudolph Lewis | Fred Drawater | |
| Yum-Yum | Leonora Braham | Geraldine Ulmar | Geraldine Ulmar | Florence Perry | Clara Dow |
| Pitti-Sing | Jessie Bond | Kate Forster | Jessie Bond | Jessie Bond | Jessie Rose |
| Peep-Bo | Sybil Grey | Geraldine St. Maur | Sybil Grey | Emmie Owen | Beatrice Boarer |
| Katisha | Rosina Brandram | Elsie Cameron | Rosina Brandram | Rosina Brandram | Louie Rene |
1Role of Go-To added from April 1885
2For 1896–97 revival, Richard Temple returned to play The Mikado during January–February 1896, and again from November 1896–February 1897.
| Role | D'Oyly Carte 1915 Tour | D'Oyly Carte 1925 Tour | D'Oyly Carte 1935 Tour | D'Oyly Carte 1945 Tour | D'Oyly Carte 1951 Tour |
|---|---|---|---|---|---|
| The Mikado | Leicester Tunks | Darrell Fancourt | Darrell Fancourt | Darrell Fancourt | Darrell Fancourt |
| Nanki-Poo | Dewey Gibson | Charles Goulding | Charles Goulding | John Dean | Neville Griffiths |
| Ko-Ko | Henry Lytton | Henry Lytton | Martyn Green | Grahame Clifford | Martyn Green |
| Pooh-Bah | Fred Billington | Leo Sheffield | Sydney Granville | Richard Walker | Richard Watson |
| Pish-Tush | Frederick Hobbs | Henry Millidge | Richard Walker | Wynn Dyson | Alan Styler |
| Go-To | T. Penry Hughes | L. Radley Flynn | L. Radley Flynn | Donald Harris | |
| Yum-Yum | Elsie McDermid | Elsie Griffin | Sylvia Cecil | Helen Roberts | Margaret Mitchell |
| Pitti-Sing | Nellie Briercliffe | Aileen Davies | Marjorie Eyre | Marjorie Eyre | Joan Gillingham |
| Peep-Bo | Betty Grylls | Dorothy Gates | Elizabeth Nickell-Lean | June Field | Joyce Wright |
| Katisha | Bertha Lewis | Bertha Lewis | Dorothy Gill | Ella Halman | Ella Halman |
| Role | D'Oyly Carte 1955 Tour | D'Oyly Carte 1965 Tour | D'Oyly Carte 1975 Tour | D'Oyly Carte 1982 Tour |
|---|---|---|---|---|
| The Mikado | Donald Adams | Donald Adams | John Ayldon | John Ayldon |
| Nanki-Poo | Neville Griffiths | Philip Potter | Colin Wright | Geoffrey Shovelton |
| Ko-Ko | Peter Pratt | John Reed | John Reed | James Conroy-Ward |
| Pooh-Bah | Fisher Morgan | Kenneth Sandford | Kenneth Sandford | Kenneth Sandford |
| Pish-Tush | Jeffrey Skitch | Thomas Lawlor | Michael Rayner | Peter Lyon |
| Go-To | John Banks | George Cook | John Broad | Thomas Scholey |
| Yum-Yum | Cynthia Morey | Valerie Masterson | Julia Goss | Vivian Tierney |
| Pitti-Sing | Joyce Wright | Peggy Ann Jones | Judi Merri | Lorraine Daniels |
| Peep-Bo | Beryl Dixon | Pauline Wales | Patricia Leonard | Roberta Morrell |
| Katisha | Ann Drummond-Grant | Christene Palmer | Lyndsie Holland | Patricia Leonard |
Film versions
In 1926, the D'Oyly Carte Opera Company made a brief promotional film of ''The Mikado''.[22] Some of the most famous Savoyards are seen in this film, including Darrell Fancourt as The Mikado, Henry Lytton as Ko-Ko, Leo Sheffield as Pooh-Bah, Elsie Griffin as Yum-Yum, and Bertha Lewis as Katisha.
In 1939, Universal Pictures released a ninety-minute technicolor film of ''The Mikado''.[23] The film stars Martyn Green as Ko-Ko and Sydney Granville as Pooh-Bah. The music was conducted by Geoffrey Toye, a former D'Oyly Carte music director, who was also credited with the adaptation, which involved a number of cuts, additions, and re-ordered scenes. Victor Schertzinger directed, and William V. Skall received an Academy Award nomination for Best Cinematography.
In 1966, the D'Oyly Carte Opera Company appeared in a film version of ''The Mikado'', which closely reflected their traditional staging at the time, although there are some minor cuts.
Adaptations
★ Bell Telephone Hour version featuring Groucho Marx as Ko-Ko, Stanley Holloway and Helen Traubel, directed by Martyn Green (1960)
★ ''The Black Mikado''
★ ''The Chichibu production of the "Tokyo Theatre Company"[17]
★ ''The Cool Mikado'' is a 1962 British musical film directed by Michael Winner that adapts ''The Mikado'' in 1960s pop music style and reset as a comic Japanese gangster story.
★ ''The Hot Mikado'' (1939) was a Broadway adaptation of ''The Mikado'' with an all-black cast, using jazz and swing music.
★ ''Hot Mikado'' (1986) is a jazz and swing style adaptation that premiered in Washington, D.C. and has been played frequently since then.
★ ''The Jazz Mikado''
★ ''The Swing Mikado'' was an adaptation of ''The Mikado'' with an all-black cast, using swing music, that premiered in Chicago in 1938.
''The Mikado'' in popular culture
Main articles: Cultural Influence of Gilbert and Sullivan
A wide variety of popular media, including films, television, theatre, and advertising have referred to, parodied or pastiched ''The Mikado'' or its songs, and phrases from the libretto have entered popular usage in the English language. Some of the best-known of these cultural influences are described below.
Groucho Marx, a life-long fan of Gilbert and Sullivan, starred as Ko-Ko in a made-for-TV production of ''The Mikado'' in 1960. Other well-known actors who have played the role of Ko-Ko include Eric Idle and Bill Oddie, with English National Opera's production of ''The Mikado'' (Oddie took over the role after Idle left the production). Dudley Moore played the role when the production toured the United States.
The climax of the 1978 film ''Foul Play'' takes place during a performance of ''The Mikado''. Quotes from ''The Mikado'' were infamously used in letters to the police by the Zodiac Killer, who murdered at least five people in the San Francisco Bay area between 1966 and 1970. A second-season episode of the TV show ''Millennium'' titled "The Mikado" is based on the Zodiac case.
''The Mikado'' is parodied by ''Sumo of the Opera'', which credits Sullivan as the composer of most of its songs. In 2007, the Los Angeles-based Asian American theatre company, Lodestone Theatre Ensemble, produced ''The Mikado Project'', an original play by Doris Baizley and Ken Narasaki. It was a deconstruction of the opera premised on a fictional Asian American theatre company attempting to overcome perceived racism in the original through a revisionist version.
In addition, ''Mikado'' trading cards were created that advertised various products.[25]
"The Mikado" was a villainous vigilante in the comic-book superhero series The Question, who killed malefactors in appropriate ways-- letting "the punishment fit the crime"; script by Denny O'Neill, art by Denys Cowan.
Popular phrases from ''The Mikado''
The phrase "A short, sharp shock", heard in the Act 1 song "I am so proud" has entered the English language, appearing in titles of books and songs (most notably in samples of Pink Floyd's "Dark Side of the Moon"), as well as political manifestoes. Likewise "Let the punishment fit the crime" is an often-used phrase from the Mikado's Act II song and is particularly mentioned in the course of British political debates, though the concept, and similar phrases, long predate Gilbert.[26] For instance, in episode 80 of the television series ''Magnum, P.I.'', entitled "Let the Punishment Fit the Crime," Higgins prepares to direct a selection of pieces from ''The Mikado'' to be staged at the Estate. The show features bits of several Mikado songs including "Three Little Maids From School."[27] The phrase and the Mikado's song also are featured in the ''Dad's Army'' episode, "A Soldier's Farewell."
A "Pooh-Bah" is a name that has been given, in the U.S., to people who take impressive titles but whose authority is limited. The expression ''The Grand Pooh-Bah'', first introduced in episodes of ''The Flintstones'', denoting the head of Fred Flintstone's fraternal lodge (the Loyal Order of Water Buffalos). In the UK, the phrase is more often used to mean a person who acts in several capacities at once.[28]
References to songs in ''The Mikado''
Many of the songs in ''The Mikado'' have been referenced in Broadway shows, films, comedy routines, and television. For example, in ''The Producers'', an auditioner for the musical ''Springtime for Hitler'' begins his audition with Nanki-Poo's song, "A Wand'ring Minstrel I." He is quickly dismissed. In ''Blackadder Goes Forth'' parts of "A Wand'ring Minstrel I" are played, once on a gramophone at the beginning of the first episode, and once in the episode involving "Speckled Jim". The movie poster for ''The Little Shop of Horrors'', shown to the right, parodies the song title, "The Flowers that Bloom in the Spring," changing the word "bloom" to "kill".
The song "Three Little Maids" is featured in the 1981 film ''Chariots of Fire'', where Harold Abrahams first sees his future wife dressed as one of the Three Little Maids. Many television programmes have featured the song, including the ''Frasier'' episode, "Leapin' Lizards," the ''Angel'' episode "Hole in the World", the the Simpsons episode "Cape Feare," Alvin and the Chipmunks episode "Maids in Japan", The Suite Life of Zack & Cody episode, "Lost In Translation," and ''The Animaniacs Vol. 1'' episode "Hello Nice Warners". The Capitol Steps also performed a parody entitled "Three Little Kurds from School Are We" about conditions in Iraq.
References to "Tit-Willow" ("On a tree by a river") have included Allan Sherman's famous comedy song about a Yiddish-accented bird who comes to a sad end. On ''The Dick Cavett Show'', Groucho Marx and Cavett sang the song. Groucho interrupted the song to quiz the audience on the meaning of the word "obdurate". A Muppet Show episode featured Rowlf the Dog and Sam the Eagle singing the song.
Sherman also did a variant on the "Little List" song, presenting reasons why one might want to seek psychiatric help, titled "You Need an Analyst". In a ''Eureeka's Castle'' Christmas special called "Just Put it on the List," the twins, Bogg and Quagmire, describe what they'd like for Christmas to the tune of the song.
See also
Act II finale
★ Topsy-Turvy
★ Snickersnee
★ Cultural influence of Gilbert and Sullivan
Notes
1. The longest-running piece of musical theatre was the operetta ''Les Cloches de Corneville'', which held the title until ''Dorothy (opera)'' in 1886. See this article on longest runs in the theatre up to 1920
2. Note on the popularity of ''The Mikado''
3. See hereand here
4. Cellier and Bridgeman, p. 186
5. Jones, p. 22
6. Jones, p. 25
7. Baily, pp. 235-36
8. Quoted at Lyricoperasandiego.com
9. Seeley, Paul. (1985) The Japanese March in 'The Mikado' ''The Musical Times'' '126'(1710) pp.454-456
10. "A Study Guide to Pittsburgh Public Theatre's production of ''The Mikado'', p. 13. See also ''Queen Victoria's Secrets'' by Adrienne Munich, this information from Pamphlet Press.org, and ''Mikado'' by Burton D. Fisher
11. Allen, p. 239
12. Review of ''The Mikado'' discussing reception by the Japanese
13. Lyric Opera San Diego site
14. Article about the 1946 ''Mikado'' in Japan
15. Time Magazine article
16. See these links: [1] and [2].
17. Description of the Chichibu production
18. Article on Eliot
19. The actor who originally played Pish-Tush proved unable satisfactorily to sing the low notes in the Act Two quartet, "Brightly dawns our wedding day". The Pish-Tush line in this quartet lies lower than the rest of the role and ends on a bottom F. Therefore, an extra bass character, called Go-To, was introduced for this song and the dialogue scene leading in to it. The D'Oyly Carte Opera Company continued generally to bifurcate the role, but vocal scores generally do not mention it. Other companies, however, have generally eliminated the role of Go-To and restored the material to Pish-Tush, when the role is played by someone with a sufficient vocal range.
20. See note above for Pish-Tush.
21. The original version of this number included Pish-Tush. His part in it was first reduced, and then eliminated. However, some vocal scores still include Pish-Tush in this number in his reduced role.
22. Information from the G&S Discography
23. From the G&S Discography
24. Description of the Chichibu production
25. Advertising cards
26. Keith Wiley webpage, referring to the Code of Hammurabi
27. See Wikipedia List of Magnum, P.I. episodes and TV.com Magnum, P.I. Episode Guide
28. For example, in R. A. Butler's biography, there is a chapter called "The Pooh-Bah Years," when Butler held multiple cabinet portfolios.
References
★ The First Night Gilbert and Sullivan, , Reginald, Allen, Chappell & Co. Ltd, 1975,
★ The Gilbert & Sullivan Book, , Leslie, Baily, Cassell & Company Ltd, 1952,
★ Gilbert, Sullivan, and D'Oyly Carte, , François, Cellier, Sir Isaac Pitman & Sons, 1914,
★ The sword that never fell, , Brian, Jones, W. S. Gilbert Society Journal, 1985
★ The Japanese March in 'The Mikado', , Paul, Seeley, The Musical Times, 1985
Further reading
★ The Sword on the Wall: Japanese Elements and Their Significance in "The Mikado", , Michael, Beckerman, The Musical Quarterly, 1989
Recordings
External links
★ ''The Mikado'' at The Gilbert & Sullivan Archive
★ Article by H. L. Mencken on the impact of ''The Mikado'' (from 1910)
★ Discussion of ''The Mikado'' from the musicals101 site
★ Description of preparations for The Mikado
★ Description of production history and modern Australian productions
★ Article on the genesis of ''The Mikado''
★ ''The Mikado'' at The Gilbert & Sullivan Discography
★ com/ArchivePressText/20021221.html 1885 review of ''The Mikado'' in "The Entr'acte".
★ ''Koko's Korner'': A website dedicated almost entirely to the character of Ko-Ko in ''The Mikado''
★ List of longest running plays in London and New York
★ Page linking to Mikado song parodies
★ "Something Vital Breaks..." A spoof on "As Someday It May Happen"
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