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😂😊
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.
@@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.
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 UA-cam 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.
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.
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. 🎉
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...
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.
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 UA-cam, 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 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.
@@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.
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.
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!
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!
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?
This evening I found out my BFF had never watched any G&S (never, not even hardly ever), quickly found this on UA-cam, 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).
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.
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.
Doing without the Japanese garb was a compromise. It looks like no one can really do the play at all anymore given the political climate. I’ve heard some companies have set it in Scotland and called it the MacAdo.
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.
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.
@@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.
@@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.
Once you have been in a school production of The Mikado, you never forget it. 🤩🎵🎵🎤🎎
My parents played G&S daily.
My school did a beautiful production of the Mikado.
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 !! ❤️❤️❤️❤️👍👍👏👏👏👏👏👏👏👏
Yes, brilliant. I've tried very hard to find a copy. It seems to be available at Altiva, but perhaps it's defunct.
I saw it when it first ran in 1987 at ENO with Lesley Garrett and Botone Bonaventura. Fabulous.
❤❤❤
@@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😂😊
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.
I saw that original one too - it was hilarious
It's Back. I Thought it was in 2017, please don't reject it, We love it.
Yay! It's back! This time I'll download it before it vanishes again.
Covid-19 is Gone Forever. So we can watch it.
@@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.
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
We adore it. 💖💖💖💖💖
Thinking the exact same thing!!
I would've loved to know what the totally arbitrary UA-cam 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.
@@philiphoel4290Show some Respect to Cultures please.
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.
Yes, this is the 14th revival I believe.
Unique !!!!!!!! I attended this production at ENO-London on 1986.
Truly inspiring.
Me too!
Many thanks for sharing this stunning performance! What a gem! 😊😊😊
Like a Precious Jewel.
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. 🎉
A joy! I adore this production. :-)
This was absolutely marvellous. Thank you, very much. Some of Sullivan's music qualifies as being like the best in grand opera. Terrific thank you,
Stunningly Beautiful.
Been looking for this for two years now. God bless you, mate.
REALLLL
Don't reject it please, We love it.
Is this one available on DVD?
@@drr5117I saw it on Altiva's website, but they seem to be out of business as I got no response. LMK if you have better luck.
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...
@@davidlauder-qi5zv I meant the original JONATHAN MILLER production.
Eine tolle Aufführung! Die Musik ist wundervoll und super gespielt !
❤️❤️❤️💋💋💋
Brilliant production in every detail! What a joy!
that was amazing! first time for me and i can't wait learn everything about this play :D
A divine treat 🤍
Absolutely fantastic thank you sharing this
Best ever Thank you great cast.
You are my new favorite G&S friend!!! What a delight! Thank you! Thank you! Thank you!
This production is incredible. Some parts had me in tears.
Thank you!!
LMAO ITS BACKKKK THANK YOU SO MUCH
Wow. Please don't reject it.
This has all of the best interpretations in this excellent production and outstanding performances.
This has all of the best interpretations in this excellent production and outstanding performances. It’s so much fun!
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.
Outstandingly brilliant!
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 UA-cam, 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.
He was right. A brilliant production. @@GrahamBrown-tc4jn
"Based on"? It IS the Jonathan Miller production.
That was spectacular!!!
This was excellent!
How Precious.
Brilliant production. Comic Operetta at its best. The sets are beautiful and the costumes to match. superb orchesta,
I’ve watched this a hundred times and keep missing how Poo Bah ends up with Petti Sing
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!!!
That's a bit presumptious old boy. SO puffed up !
@@johnslimko6938 You are at least comical. And, I should have said MOST of the junk...
The Met does not produce junk!
@@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.
@@josephcollins6033and you do about singing and production? Puffed up much………?
I honestly like this 20's version more than the original, but I do miss Eric Idle.
Yeah, The Monty python Star, which film of the Mikado you prefer The 1987 one or the 2015 one?
@@bettyottman1718 1987 minus the the eye squinting at the beginning.
@@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.
You preferred the original? You were so fortunate to see the D’Oyly Carte production on March 14,1884. I am very envious.
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.
这就是自以为是的“创新”，十分愚蠢
Never have seen a better Pish Tush
In the Original one in 1987, he had bright Orange Auburn Toupee.
Absolutely 'spiffing'. Great setting and singing.
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!
It's actually supposed to be the 30's, in the spirit of the Jack Buchanan movie musicals of the times, like "This'll Make You Whistle."
@@tomshea8382 thank you for correcting me. I always thought of the 30’s as the Great Depression Decade and lead up to WW2 for the US
@@johnyelcick4572 You are correct about all that. Less so for the British.
Perfect. Best production ever. Seen it many times. Where was this performance from?
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!
😂😂😂 ….. 👍
Excellent comment.
Grrrrreat !
Truly inspiring.
Saw the original with Eric Idle!!
Takes me back to when I was in pirates of Penzance at school also so HMS Pinafores
S enery
Scenery costumes, brilliant.
Breathtaking.
Is there any way to get this, not the Eric Idle version, on DVD?
I want this dvd with Mary bevan
Was this performed on a stage in front of a live audience, or just made to look that way? Also is this a London production?
When this was shown in cinemas it was described as performed on a stage in front of a live audience - in a London theatre, the Coliseum.
Little has changed since 1987
Woncerful
The Part of Evil Katisha's Entrance gives us the Shivers down our Spine at the end of Act one.
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?
Precious Jewel.
@@bettyottman1718 is that the name of a website where I can find the soundtrack with this cast?
23:09
27:38
34:09
40:36
45:50
52:49
1:00:58
1:15:07
1:19:27
1:24:35
1:31:13
1:36:52
just some random blue numbers hope you don't mind
Can we have some details about this production? Which theater, which country, what are the main cast's names?
Suler choreography.
Is there a cast list? Conductor?
Talented Conductor isn't he? 🎼🎼🎵
@@bettyottman1718 and a fine colleague
This evening I found out my BFF had never watched any G&S (never, not even hardly ever), quickly found this on UA-cam, 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).
Tenno Heika Banzai!
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 ....🤔
Larry David must have invested heavily in opera songs. How many of his Curb hijinx have been set to Three Little Maids?
The assumption of an audiences politics.
Trump jokes are always easy. I saw a KoKo diss track that dumped on Trump, Bernie and Hillary equally and thought that was fair.
Bummed they didn’t get Eric Idle to play Koko again.
🙂🙂
Sorry, I might be missing something, but why are they saying the Lord “Hay” Executioner? Is it some kind of joke?
I think the idea is to evoke a very posh English accent
@@MrAlexsegal Thank you!
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.
An absolutely masterful performance, but I must admit, I'm a bit disappointed with the "updated" sets/costumes.
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.
Doing without the Japanese garb was a compromise. It looks like no one can really do the play at all anymore given the political climate. I’ve heard some companies have set it in Scotland and called it the MacAdo.
1:45:05 that stutter tho
Defer to the neeble Lord Hay Executioner?
2:14:41
27:48
*****
Prefer the colourful Japanese sets and costumes. And slower tempos…
The British style version is Spectacular.
Singers are not with the conductor too often.
I'll spoil your gay gambado.
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.
You mean like FIDELIO?
No one ever said it was an opera.
I'm pretty sure that Gilbert and Sullivan did. Weren't their pieces routinely called "light operas" when new?
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.
That Republican contender who behaves just like a chump building golf courses and skyscrapers that none can ever Trump...
That Democrat pretender who is really just a traitor, sitting in his office stolen like a fascistic dictator...
Bad stagings. It was not composed this way. Flappers 1920?
I think it's Stunningly Beautiful.
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)
@@erinharkiewicz7239 Oh dear. You really need to calm down about this. What you say is false. (See my replyon one of your other such rants.)
@@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.
crap moden rendition .Why carnt they leave G&S alone
Don’t like it then bloody jog on.
@@65NART you log on
@@65NART you jog n
@@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.
@@renzo6490whatever.
This is a travesty. The set, costumes and choreography completely undermine Gilbert’s original vision and render the satire toothless. Unwatchable.
This is a very pale rehash of the original
The original? You mean the 1885 version at the Savoy Theatre in London?
The 1987 stage movie was ok, but the 2015 was really vibrant I must say.
@@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
I agree entirely. I enjoyed it thoroughly, it is quite a beauty in its own. But an all too much well behaved version!
@@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.
There are too many idiots who can't even spot the Swiftian humor, and the show is meaningless without the Japanese touch
"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.
Nothing Japanese about this production.
No. Japanese please.
Poor Robert Lloyd a bit too old.