Escaping from a distasteful marriage, Nanki-Poo, the son of the Mikado, arrives in the town of Titipu - disguised as a musician. He has chosen Titipu because a beautiful girl, Yum-Yum, with... See full summary »

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Escaping from a distasteful marriage, Nanki-Poo, the son of the Mikado, arrives in the town of Titipu - disguised as a musician. He has chosen Titipu because a beautiful girl, Yum-Yum, with whom he has fallen in love, lives in the town. A desire to marry Yum-Yum, however, is not enough. Nanki-Poo has to contend with her guardian, Ko-Ko, the Lord High Executioner, who has every intention of marrying Yum-Yum, himself. Problems are compounded when the Mikado, accompanied by Katisha, Nanki-Poo's jilted bride, also arrive in the hitherto peaceful town of Titipu. Written by David McAnally <D.McAnally@uq.net.au>

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Musical | Comedy

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18 August 1983 (Australia)  »

Also Known As:

The Town of Titipu  »

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William S. Gilbert appears in the introduction, in the form of a still photograph. See more »

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Version of The Mikado (2001) See more »

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User Reviews

 
a very entertaining show.
21 March 2006 | by (United States) – See all my reviews

By far the best role in the production was Stafford Dean's Pooh-bah, a brilliant performance of multiple roles by a single player, often in a single sentence. John Stewart as Nanki-Pooh was fabulous in his rendition of Wand'ring Minstrel. He was also very emotive in his scenes with Yum-Yum, and hilariously comic elsewhere. Katisha and Ko-Ko were both extremely touching in their scenes together, in many ways the central roles of the show, calling for the most character development and growth. It was also amusing how Katisha, who comes on stage in a hot air balloon, is wearing rose-colored aviator goggles, which she discards when she sings her first sad aria.

It was unfortunate that the lesser roles had so much less to do. Pish-Tush and Pitti-Sing were given some time to shine, but I would have liked to see more of Peep-Bo. The little comic touches on Pish-Tush's part did well to amplify a smaller role. The same can be said for the costumes (several Victorian outfits, an actual trombone), and the train.

The chorus and the dancing were very exuberant and joyous. The entrance of the girls from school was sweetly delicate. The dances involving the men were less so. The opening sequence was rather bland by comparison, and the entrance of Ko-Ko was only saved by Ko-Ko's antics.

I much prefer the expanded set version of these plays. Not only is there more room for movement, especially dancing, but there are more environments for different scenes. The garden in particular was very good, both for the opening of act 2 and the setting for Ko-Ko's courtship of Katisha.


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