I was fortunate to see this Production 3times and was enthralled,absorbed, and delighted with every careful detail that was employed to make this not just a nostalgia moment, but instead a delight with what can be seen through new eyes WITHOUT losing the universal satire and GENIUS of G&S THANK YOU FOR PRESERVING IT !! ❤️❤️❤️❤️👍👍👏👏👏👏👏👏👏👏
@@65NARTme too!!!!!😂😂❤❤ In fact I also remember Jonathan Miller being interviewed about it and will never forget his response to what he thought of the opera and he said "well of course it's not remotely Japanese is it, it's just English people tit-arsing about!" Which it is😂😊
Bravo. My goodness, from the sets, costumes, orchestra, and talent, this is one of my favorites of all the Mikado productions. You either love G&S or you hate them. I ❤️ them all. But, this one does stand alone. 🎉
Act I 0:00 - Overture 6:00 - If you want to know who we are 8:35 - A Wand'ring Minstrel I 13:51 - Our Great Mikado, virtuous man 19:33 - Young man, despair 22:59 - Behold the Lord High Executioner 27:38 - As some day it may happen (I've got a little list) 34:08 - Comes a train of little ladies 36:18 - Three little maids from school are we 40:33 - So please you, Sir, we much regret 45:45 - Were you not to Ko-Ko plighted 52:41 - I am so proud 1:00:41 - With aspect stern and gloomy stride 1:02:43 - The threatened cloud has passed away 1:05:25 - Your revels cease! 1:08:58 - For he's going to marry Yum-Yum 1:10:24 - The hour of gladness 1:13:08 - Ye torrents roar! Act II 1:15:50 - Braid the raven hair 1:19:30 - The sun whose rays are all ablaze 1:24:31 - (Madrigal) Brightly dawns our wedding day 1:31:11 - Here's a how-de-do 1:37:04 - Mi-ya Sa-ma 1:38:17 - From every kind of man obedience I expect 1:39:55 - A more humane Mikado 1:45:00 - The criminal cried as he dropped him down 1:53:44 - See how the Fates their gifts allot 1:58:14 - The flowers that bloom in the spring 2:00:10 - Alone, and yet alive 2:06:27 - On a tree by a river (Willow, tit-willow) 2:10:08 - There is beauty in the bellow of the blast 2:14:40 - For he's gone and married Yum-Yum 2:15:25 - The threatened cloud has passed away
Undoubtedly brilliant performance and the only reason it's not my favourite of all time is due to the comparison with the original cast which is hardly fair. That cast was a once in a lifetime gathering of many of the best performers to have existed, with direct input from Miller, who was without doubt a genius.
The last time I was able to find this brilliant rendition was right around the start of the pandemic before youtube took it down. Glad to see it's finally back! Thank you for the re-upload AC Vancouver Canada 17/6/23
I would've loved to know what the totally arbitrary RU-vid police censors found so objectionable about it that they felt like they needed to censor it. Somebody must have gotten all butt hurt about non Asians playing Asian characters.
@@bettyottman1718 Nope, COVID is on the rise again. Apparently you haven't heard yet. I know, so much going on in the world lately makes it kind of impossible to keep up with everything anymore.
This is bizarre. I am watching, from Australia, in 2023, the same production, even down to the sets (the circular white seat for example), the accents ("Lord Hay Executioner" in "Young man despair") of the English National Opera production I saw in London in 1986. Directed by Jonathan Miller. Looked it up. I'm right. A very nice revival, but a revival of a 1986 production it is indeed.
I am familiar with the original production with Eric Idle (as KO KO) but this is nearly as brilliant. And as bright and polished as a new button. And a good updated Little List.
Original production of the Mikado? That would be the Savoy Theatre production in London in the 1880s by the company of theatrical impressario Sir Richard D'Oylie Carte, surely? The version with Eric Idle was a little later...
Having loved Gilbert & Sullivan since I was a little boy, my love finally culminated in my first play about the Team. This production, based on The Peter Cook version, is handsome, well-acted and professionally presented. The orchestra is excellent, and the principals have voice and comic talent. I wonder though why the production was not done in Japanese dress? Some things other than these also command attention. Gilbert. Himself, used to re-write his own lyrics for updating. However Gilbert did not re-write his “Little List” completely but slipped the re-writes into the original lyrics. While this revision is clever and updated I wished that some of the original lyrics were reinstated. All Gilbert & Sullivan is bright, funny, and enveloped in high quality which guarantees good entertainment.
I think you'll find this is based on the Jonathan Miller version - there is on RU-vid, a programme of his actually directing it from audition to opening night. - fascinating.
In addition, Miller always maintained that The Mikado was essentially an English story wrapped in Japanese clothing. He decided just to mount the production as a purely English narrative.
This production makes no sense without the Japanese costumes. If you have seen the movie Topsy Turvey you will understand the profound impact the first glimpses of Japanese culture had on W.S. Gilbert in particular and European Art generally.
It makes no sense *with* the Japanese costumes either. The music is 19th century European and the libretto is a satire of English customs and politics. With or without the Japanese garb, one must suspend their disbelief. This production is wonderful.
White people can’t perform in Asian costumes without being chased by the torch and pitchfork crowd. They’re already pushing it keeping it set in Japan. There are productions that call it the MacAdo now and set it in Scotland.
This is a perennial favorite live production of mine, one of only three done in this century that I find very true to the material in spirit and character portrayal. A wonderful and ever so subtle bit of nonverbal acting comes from "Pooh-Bah", who slowly straightens up on "Ko-Ko" realizing that an affidavit would be all needed to satisfy as "proof of an execution.
из фильма "Кутерьма" я поняла, что успех "Микадо" во многом состоял в том, что место действия и сюжет перенесен в средневековую Японию. Но современные постановщики вновь поставили все с ног на голову, в буквальном смысле очередная кутерьма.
THIS IS SPECTACULAR!!!!! I cannot believe the money and talent going into an operetta. Wonderful!! So much better than half the junk the Met has produced for the past 30 years! Thank you!!!
@@samueljaramillo4221 It's fine for you to believe that. Enjoy what you like. You don't know much at all about singing and production. But, that has nothing to do with the joy you get from the productions.
Jonathan Miller is just a GENIUS* What brilliance to stage a comic opera set in Japan in a Riviera setting? Such innovation! To hear the players at the beginning all singing 'We are gentlemen from _Japan_ ' in a clearly Western hotel lobby really adds a certain _je ne sais quoi_ ...a level of contrivance to which even the great WS Gilbert could never have aspired. How truly fantastic and unimaginable to strip the production of every vestige of emergent 19th Century Japan and pivot instead to an episode of Hercule Poirot? What sort of mind even _imagines_ that? Sadly, Miller never got to stage any of his _other_ G&S adaptations. _HMS Pinafore_ - but elevated away from the Victorian Navy and set firmly instead in a _Kwik Fit Fitters_ in Slough. _The Pirates of Penzance_ - ditching the _English Riviera_ setting, to parcel the entire story within the confines of a _Greggs the Bakers_ on Romford High Street. *decidedly NOT!
@@Gravelgratious Indeed...that almost ruined the whole film for me...and if they're going to do karate moves in that number, they could at least be proper karate moves.
A wonderfully staged production. The vision of a roaring 20’s grand resort hotel is unique. A large and talented cast. The surround sound mix is amazing - I watched it with a friend who is legally blind; she was grateful to “be in the concert hall.” Interestingly I saw a production at the Lincoln Center in 2003 or so, and the same orange menace was at the top of the executioner’s list in this production, too!
This evening I found out my BFF had never watched any G&S (never, not even hardly ever), quickly found this on RU-vid, Thank You from both of us for a really enjoyable evening. (Next time we're off work together we're getting The Pirates of Penzance on Google TV).
I'm absolutely in love. This is the first, and so far only, Gilbert and Sullivan opera I've ever seen. Does anyone know where I can find a soundtrack with this particular cast?
If you dont mind me saying, although I love this Miller production, the conductor is taking everything at a hell of a lick - even Koko's 'List' speech felt a bit rushed - as indeed did the love scene between Yum-Yum and Nanki-Poo. A final criticism would be that during that same scene - supposedly one of tenderness and intimacy - it was all hustled through AND shouted. In fact, there was almost no dynamic variation whatever - even the "I woukd kiss you thus ..." barely saw a ritardando. With this cast/director, was disappointingly lacking in much nuance and the jokes felt forced. Having subsequently seen the beautifully done Topsy-Turvey, my favourite film of all time, so many times, perhaps it's just that I've been spoiled ....🤔
Why re-set this G&S gem in the 1920s in the English seaside resort town of Brighton? Couldn't they acquire the rights to Sandy Wilson's "The Boyfriend?"
In order to be able to still produce the show in the current climate regarding DEI, critical race theory, and shrieking about "cultural appropriation. This is now the standard approach of all G&S companies.
@@erinharkiewicz7239 Not true at all. There was a Japanese-costumed production of it here in the UK about ten years ago. Further, this is a revival of a version that was first produced in the 1980s (with Eric Idle as Ko Ko). Yes, the conversation (not "shrieking", btw) about cultural appropriation has entered into the main(ish)stream since then (and often misunderstood), this production had absolutely nothing to do with that. People have been re-imaging popular theatre for many years. Shakespeare often gets a funky update.
Having seen a live performance by D’Oyley Carte, this version is not my cup of tea! Please note that anything with spoken words is an operetta and not an opera!
@virginiafry9854: Oh Virginia, I think your brain is fried because your comment is an uneducated and stupid one. Bizet’s CARMEN and Offenbach’s THE TALES OF HOFFMAN, in the original Opera-Comique version, both utilized spoken dialogue and are MOST CERTAINLY OPERAS, NOT OPERETTA as your comment states. Please listen to CARMEN recordings by Cluytens (1946 EMI mono), Burgos/Bumbry (EMI), Solti/Troyanos (Decca) and THE TALES OF HOFFMAN by Bonynge/Sutherland (Decca). They are excellent and the booklet explains the reason for creating the works with dialogue. Now please find a topic you really know about before posting post.
Quite correct. And they have always been referred to as "The Savoy Operas". Perhaps the word "opera" was used playfully, but early operas included spoken dialogue.
@@65NART This is a place for making comments. Someone expressed an opinion that you don't like. Your response is to tell them to shut up. Not very adult of you.
The emperor’s new clothes: A collectivist mindset in the comments jubilates over an early 20th century transmogrification of a Japanese town into a British seaside hotel, a chorus of very British gentlemen declaring themselves to be gentlemen of Japan, a heavily made-up Nanki-Poo with kiss curl whose dedication to Yum-Yum may well be doubted and a bewildering array of chamber maids and bell boys (please insert “persons” where appropriate) prancing endlessly and senselessly. What may be next? A Chinese Othello in Lederhosen? (And yes, thank you, I used the “off” button)
The simple facts are (1) the Mikado was always about the Britsh, but with charming costumes and sets from Japan and (2) it would be absolutely impossible, in the 21st century for any one - from a national opera company down to the lowest amateur company - to stage a production of Mikado actually set in Japan. They would be "cancelled" in the blink of an eye. This is absolutely the standard approach for those brave enough to even touch Mikado (many no longer even approach it)
@@fredasterical As someone who has been involved with two G&S groups over the last 10 years that endured incredible hostility from local press and social media when we did Mikado, I submit you don't know what you are talking about.
@@erinharkiewicz7239 Sorry for your bad experience. My point was not that it doesn't happen, just that it doesn't always happen, as your sweeping complaint implied. And forgive me, I must admit it was the sweeping nature of your comment and what felt like the kind of culture-war rant one hears these days from people who feel threatened by what is actually some long-overdue cultural reflection. Personally, I don't mind the traditional productions (and, as I said, you can still find plenty of them), but I do see the issues at play and respect them. I know it can hurt when you feel your good work is unfairly criticised. I can relate. Just try not to echo the noxious claims about so-called "cancel culture". They come with a heap of some pretty unpleasant baggage.
@@fredasterical I don't know - when (1) a county commissioner attempts to force a vote at a meeting as to whether your group's contract to use a county performing arts venue should be terminated 4 weeks prior to the show and your group should be forever barred from using the facility, and she admits she is doing so because she has been "educated" by Facebook posts from professors and student groups from nearby colleges, we were feeling pretty "cancelled" (thank God the County attorney pointed out that under the First Amendment, they couldn't do that, and (2) when, in addition to that event, the G&S club at my private university alma mater - with which I've been involved was told by the student government counsel that their production of Mikado could go on as scheduled, but that unless they changed their bylaws to say they would never again in the future perform the show, they would lose all funding from the student activities fund, those kids were feeling pretty "cancelled" too. There, the First Amendment couldn't help the kids directly, and they decided to go along and reduce the pool of their future shows from 12 to 11 rather than turn the majority of the campus (and thus their audience) against them So, I've already experienced plenty of noxious baggage and feel there is nothing "so-called" about cancel culture. Although thank you (sincerely) for your sympathy.
@@blokeabouttown2490well: D’Oyly Carte company did attempt to preserve the character of the 1885 production right through the first half of the twentieth century- I saw many of them myself at the Streatham Hill Theatre. After that they seem to have become exhausted and the copyright expired so it was free for all sometimes for good sometimes not so much
@@blokeabouttown2490: I would rather watch a production utilizing Gilbert’s original lyrics and stage directions than a weak attempt to enlighten it by changing the time, setting and references. I don’t think they’ll be missed, no they won’t be missed.
I'm all for artistic liberties and new ideas. I saw a production of the Mikado where it was set in modern day Japan and it was fantastic and hilarious, but this is straying WAY too far away from the original material in terms of direction set and all around premise...... make it make sense. But the casting is great, the performers are hilarious and the music (as usual) is beautiful! Ok it got even worse as I watch it..... why is this getting so much praise??? Besides the musicians and performers, this production os terrible. It's like the director didn't read the plot or read the lyrics. Is this for race and PC purposes or something??? Can we please keep it set in Japan. They say it's in Japan, but I sure af don't see it.
"Is this for race and PC purposes or something??? " Yes, exactly. "Can we please keep it set in Japan. " No. Any company - from a national opera to your local high school would be crucified by the Woke cult if they tried to do so.
