AN EXUBERANT new production of The Mikado was the first of three Gilbert and Sullivan operettas at the Civic this week.

The National Gilbert and Sullivan Opera Company’s five-night run continued with HMS Pinafore midweek and ends this weekend with The Gondoliers. Based on the opener, audiences are assured of musical delight and merriment.

The Mikado abounded in polished acting and superb singing from the entire company, headed by an irrepressibly cheeky Richard Gauntlett as Ko-Ko, Lord High Executioner, a smart aleck upstart whose comeuppance over being ordered to actually put someone to death was marked by endearing comical facial expressions and twitchy agility.

Thinly veiled as a tricky love story set in Japan, its purpose as a satire on English class and political institutions was clear from the outset as the male chorus trooped on in oriental robes topped by bowler hats and sporting uniform moustaches, shortly followed by the schoolgirl chorus in kimonos and straw boaters.

Bruce Graham’s resounding upper-crust accent as Pooh-Bah holding multiple positions of authority left no doubt about satirical targets, while the updating of Ko-Ko’s “little list” of those who will not be missed was inspired, featuring many a contemporary bugbear and raising loud laughter at such inclusions as the Scottish Nationalist leader and that chap from Top Gear.

Amy J Payne gave a towering and terrifying performance tinged with hurt as the jilted Katisha with storm lighting effects whipped up by her passion.

Other comic highlights included Ko-Ko’s increasingly breathless Trio routine with Yum-Yum (Claire Lees) and Nanki-Poo (Robin Bailey), each repeat getting more frenetic.

Directed by G&S expert John Savourin, the production merges operetta with the very English theatrical styles of burlesque and pantomime. Top marks, too, to assistant musical director James Hendry whose energetic conducting kept the orchestra on its toes.

Pru Farrier