Julie Watterston
This revival of Craig Revel Horwood’s production is long overdue, even though it was staged at the Watermill just three years ago.
Judging by the outstanding pre-show bookings and audience reaction, Hot Mikado has returned to an anticipative audience who are certainly not to be disappointed.
Georgina Field, Abiona Omonua and Cassie Pearson in a scene from Hot Mikado at the Watermill Theatre
The heady, steamy atmosphere of a Chicago blues club is skilfully combined with the monochrome simplicity of a Japanese tea house in Diego Pitarch’s stimulating set with mood lighting by Richard G Jones.
Horwood has made some changes to the production since its Watermill premiere in 2006 and most notably has taken more extreme liberties with the script and cast to bring it bang up to date. The show freewheels madly between current political, satirical and popular interjections, resulting in a frenzied fusion of old and new from every perspective. There is never a moment when the cast relaxes in this exhaustive display of actor musicianship that brings together a big band sound and incredible vocals.
Jeffrey Harmer and Karen Mann recreate their previous roles as Ko-Ko and Katisha in a subliminal parody that shows respect and propriety to the original Gilbert and Sullivan characters, while pushing them to their most ridiculous and hysterical limits. Their rendition of Tit-Willow is a masterclass in comedy that they carry off with a unique aplomb.
Julian Littman is perfectly manipulative as Pooh-Bah with Melanie Marshall as the Mikado, Abiona Omonua as the seemingly naive Yum-Yum and Dominic Tighe as her suitor Nanki-Poo. As Pitti-Sing, Cassie Pearson’s powerful vocals drive some of the musical numbers to new heights. Sarah Travis keeps a tight rein on things as the onstage musical supervisor.