Review: The Mikado at LOWRY is ‘a riotous romp, utterly irreverent and gloriously over-the-top’

As part of its 30th anniversary celebrations, Opera della Luna has revived its much-loved production of The Mikado, which is at LOWRY From Friday, 9th of May to Saturday, 10th of May.

This flamboyant reimagining of Gilbert & Sullivan’s classic comic opera more than lived up to its reputation, proving the company has lost none of their signature flair for turning their comic operettas into theatrical fireworks.

This staging is a riotous, high-camp delight, gleaming with wit, dazzling costumes, worthy of Jean Paul Gaultier.

The Mikado at LOWRY

This version reimagines the town of Titipu as a parody of the haute couture fashion world, think Gaultier meets Gilbert, with outrageous costumes that wink and sparkle under the lights, thanks to the genius of designer Gabriella Csanyi-Wills.

She dresses the cast in a palette of flamboyant elegance and fashion-world absurdity, every character a peacock in their own right. It’s playful and audacious, and just great fun.

The Mikado’s creative team

The creative team: director Jeff Clarke, choreographer Jenny Arnold, and conductor Michael Waldro, craft a production that is delightfully over the top while never losing the charm and structure of the original.

It’s fundamentally quite silly, yes, but the kind of silly that’s underpinned by sharp direction, musical precision, and a deep understanding of the source material.

The humour is broad and warm-hearted, with flourishes of visual comedy and gleeful irreverence. This is opera as escapist joy, handled with immense skill.

And joy, indeed, is the dominant note of this production. With a small cast, the ensemble conjures the entire bustling, backstabbing world of Titipu—populated with tailors, courtiers, executioners, and exiled royalty—with an energy that is infectious.

What happens in The Mikado?

At the centre is Nanki-Poo (Robert Forrest) , the Mikado’s son in disguise, whose love-struck wanderings and ardent tenor lines ground the piece in genuine feeling. Here, the role is played with striking vocal power and lyrical sweetness.

His voice soars with clarity and emotional nuance, particularly in “A Wand’ring Minstrel I”, offering one of the evening’s most musically satisfying moments. Later duets, especially the trio “Here’s a How-de-do”, combine comedic timing and vocal fun.

It’s a performance that could stand on any operatic stage, anchored in sincerity even amidst the madness.

The Lord High Executioner

And speaking of madness—enter the Lord High Executioner, Ko-Ko (Matthew Scott Clark).

In this production, the role becomes the comic heart of the show, commanding attention with a gloriously theatrical presence.

There’s something of the pantomime dame in the performance: knowing, absurd, and hilarious. Whether updating “I’ve Got a Little List” with topical jabs or navigating the increasingly ridiculous twists of Titipu’s legal system, this Ko-Ko handles the audience with seasoned ease and delightful mischief. The laughter is loud and frequent—this is a Ko-Ko who knows exactly how to work a room.

The revenge of Katisha

Elsewhere, the character of Katisha (Louise Crane) arrives with all the fury of a betrayed diva. Her entrance, complete with Joan Collins-esque glamour and icy glares, draws gasps and laughter in equal measure.

Her melodramatic gestures and overripe lamentations are knowingly ridiculous, and yet there is pathos, too. When she is finally won over, there’s a beat of comic sweetness that lands perfectly. The chemistry between her and Ko-Ko in their begrudging romantic finale brings the house down.

The choreography, while not always the most precise, adds another layer of exuberance to the show. It leans into the farce, with fashion-show strutting, stylised poses, and broad comedic routines, keeping the tone playful. Occasionally, it slightly compromises diction, but the sheer visual pleasure of it all makes that a forgivable trade-off.

Musically, the ensemble is tight and sprightly under the baton of Michael Waldron. The familiar score bubbles along with vitality, and the orchestra, though modest in size, is well-balanced. The pacing is brisk but unhurried, and the musical phrasing is lovingly shaped. Every number hits its mark, from the opening chorus to the rousing finale.

“like fine stitches of a tailor’s work”

The real triumph of the production is in how it all comes together, like the closing stitches of a tailor’s work—each part flamboyant in isolation, but made coherent by masterful design.

This Mikado revels in its own absurdity, but never forgets its musical or narrative duties. It’s a high-wire act of comic timing, costume, and control, and Opera della Luna makes it look easy.

If you’ve never seen The Mikado before, this is an ideal introduction. If you know the piece well, you’ll delight in the cheeky modern touches and musical polish. And if you’re simply looking for a good night out—a genuine laugh, a visual feast, and some stunning singing—then this production delivers on every front.

This version of The Mikado is a riotous, satirical romp—utterly irreverent, gloriously over-the-top, and stitched together with impeccable comic timing.

The Mikado at LOWRY

The Mikado is on at LOWRY from Friday 9th of May to Saturday 10th of May 2025.

You can get tickets by clicking here