The Mikado was ARC's (or at the time, Preston ARC's) first ever show, was performed in July of 1996 at the Preston Creative Living Centre.
Before the action of the opera begins, Nanki-Poo has fled from the court of his father, the Mikado of Japan, to escape marriage with an elderly lady, named Katisha. Assuming the disguise of a musician, he has then fallen in love with a fair maiden, Yum-Yum; but he has been prevented from marrying her by her guardian, Ko-Ko, who wishes to marry her himself. Ko-Ko, however, has been condemned to death for flirting; and, when Act I opens, Nanki-Poo is hastening to the court of Ko-Ko in Titipu to find out whether Yum-Yum is now free to marry him.
From Pooh-Bah (a corrupt and proud public official) and Pish-Tush (a nobleman), Nanki-Poo learns that Ko-Ko has, instead, become Lord High Executioner, thus preventing the sentence of decapitation from being carried out. Ko-Ko is, in fact, going to marry Yum-Yum that very afternoon.
Everything seems to be going well for Ko-Ko, but suddenly a letter comes from the Mikado ordering him to execute somebody or else lose his position of Lord High Executioner. He is in a quandary to find someone to execute, when Nanki-Poo appears, bent upon suicide because he cannot marry Yum-Yum. By conceding to him the right to marry Yum-Yum for a month, Ko-Ko persuades Nanki-Poo to be the subject for the public execution when that month is up. There is general rejoicing in this apparent solution to the problem, marred only by the unexpected appearance of Katisha, in quest of the vanished object of her affections, Nanki-Poo. She is driven away, but threatens to go to the Mikado about the matter.
Act II opens with Yum Yum preparing for her marriage with Nanki-Poo. As all are singing a "merry madrigal", Ko-Ko comes in with the news that he has just discovered a law stating that when a married man is executed his wife must be buried alive. To save Yum-Yum from that fate, Nanki-Poo decides to kill himself at once. But this again throws Ko-Ko into a quandary to find someone to execute (especially as he has heard that the Mikado is at that moment on his way to Titipu). Nanki-Poo magnanimously offers himself for immediate decapitation, but Ko-Ko is unable to perform the act without some practice.
Another way out of the dilemma presents itself: Ko-Ko has Pooh-Bah make a false affidavit that Nanki-Poo has been executed, and bids Nanki-Poo and Yum-Yum leave the country.
The Mikado soon appears. Ko-Ko thinks that the object of his visit is to see whether the execution has taken place. He accordingly produces the affidavit and describes with gusto the execution. But the Mikado has actually come at the prompting of Katisha in search of his lost son. When the fact transpires that the person whom Ko-Ko has supposedly executed is really the Mikado's son, Ko-Ko and his accomplices are declared guilty of "compassing the death of the Heir Apparent". The only hope for them is to admit the falsehood of the affidavit and produce Nanki-Poo alive. But, as Nanki-Poo has already married Yum-Yum and so cannot marry Katisha, Katisha will surely insist on the execution of Nanki-Poo and Yum-Yum. Ko-Ko solves the problem by offering his hand to Katisha; and, after he sings her the touching ballad of "Willow, tit willow", she accepts him. The end of the opera comes with Nanki-Poo's discovering himself as the son of the Mikado.
The performance season ran over one week.
|Musical Director||Amelia van Lint|
|Assistant Director||Anthony Ventura|
|Pooh Bah||Mark James|
|Pitti-Sing||Amelia van Lint|
|Pish Tush||Luciano Parissi|
|The Mikado||Rick Sweeny|
|Ensemble||Ross Bryant, Rosemary D'Orsi, Tara Easden, Bianca Lucantonio, Vanessa Lucantonio, Sophia Manikis, Rod Murphy, Pauline Nero, Deborah Poulter, John Rizotto, Sandra Rizotto, Matthew Spiteri, Danielle Walsh, Amelia van Leeuwen & Adrian Ventura|
|Costume Designer||Amelia van Lint|
|Stage Manager||Philip Finocchiaro|
|Set Design||Phil Cooke|
|Lighting Design||Anne O'Callaghan|
|Front of House|