The Mikado, Forbear! Theatre at the Drayton Arms Theatre

Gilbert and Sullivan’s The Mikado has long been a staple of the comic opera repertoire, but its original Japanese setting has raised eyebrows in recent years. Forbear! Theatre’s latest production boldly reimagines the operetta in a wholly invented fantasy realm, think fairy lights, fauns, and pointy-eared elves, removing any problematic exoticism while breathing fresh life into a much-loved classic.

Forbear! Theatre, now celebrating its 10th anniversary, throws everything into this production, and it shows. The team handles performing, directing, costuming, and even transport. This production wears its handmade charm proudly, and despite some moments of clutter and chaos, the result is delightfully eccentric and often very funny.

Musically, the show is anchored by pianist Daniel Lee Chappell, who provides crisp, energetic accompaniment throughout. Vocally, there are some standouts. Kathleen Brenner is outstanding as Kottilska (Katisha), delivering a heartfelt “Alone, and Yet Alive” with gorgeous contralto warmth and compelling depth. Rachel Middle (also the director and choreographer) charms as Mna-Y’um with a bright, balanced soprano, especially in ensemble numbers with Isabelle Paige and Jenni Simmonds, whose trio harmonies were some of the show’s loveliest moments. Dan Cavendish, doubling up due to cast illness, brought comic flair and a velvety baritone to the role of the Mikado.

John Faal as Æthel-Rún (formerly Nanki-Poo) showed strong stage energy and comic timing, though his vocal performance was uneven on the night, with some uncertain tuning and strained high notes. William Remmers as Klok-Cow (Ko-Ko) was more actor than singer, but delivered the “Little List” with such comic wit and contemporary bite that the audience was thoroughly won over. His stage presence echoed the tradition of comedy icons like Eric Idle, vocally light but theatrically rich.

Visually, the production is inventive but occasionally overwhelming. With fauns, cats, sequins, horns, and cloaks, the costume design veers towards excess. At times, the small stage felt overpopulated and choreography became muddled. Still, there’s no denying the creativity and enthusiasm behind it. The fantasy setting gave the familiar story a new lens, with clever renaming of characters and an aesthetic that cheekily nodded to everything from Game of Thrones to Cats.

It’s not flawless, but it doesn’t need to be. Forbear! Theatre’s Mikado is original, irreverent, and bursting with energy. It’s a love letter to G&S that dares to modernise without losing the heart of the piece.

Image credit: Forbear! Theatre.