Thoughts on the Mikado

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In a record shop in Truro last summer I heard someone ask for a recording of the Pirates of Penzance. `Would they be a local group?' drawled the girl behind the counter. G & S had obviously lost their hold on late twentieth century Cornwall, but in late nineteenth century America the Mikado was a wow. Rival Mikado companies sprouted like alfalfa seed and sued each other with litigious fury over who had the proper performing rights. On one evening in 1886, a year after the first performance in England, there took place across the United States 170 separate performances of the opera, one of them probably in the newly christened town of Mikado, Michigan.

The Americans, on the whole quite a prudish lot, had trouble conceiving how Gilbert could decently call his town Titipu, or think there might be a bird called a tit-willow - after all they carry delicacy to the point of talking about chickadees - but they did not jib at the obvious racism of the opera. These days people are more easily offended. In our common room at Winchester we are not allowed to take the Sun, the most obvious voice of the people in the land, because the ladies are upset at the idea of all us lads lubriciously peeping at the boobs on page three, and performances of the Mikado inevitably must face up to the nigger problem - the offensive word occurs twice in the text: you will find commentators who argue that Gilbert must have meant someone who was blacked up. `The nigger serenader and others of his race' were on Ko-Ko's not so little list: I suppose `race' might just have been Gilbertian slang for `kind', with an ironic joke about temporally assumed nationality. Let's hope so.

Gilbert was only mirroring the indifference of the period to such matt...

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...nd elliptical billiard balls. The second trombone joke is lost on most of the audience: I imagine the point was that Sullivan always wanted a larger orchestra than could be easily squeezed into the Savoy pit. He was sorry to find himself limited to only one trombone. The second trombone is therefore a non-person, a true incognito for Nanki-Poo to adopt.

The big point about the Mikado is that it found Sullivan at the top of his form. The opera abounds in wonderful numbers and he never did anything more exquisite than Yum-Yum's aria to the sun and the moon at the beginning of the second act. Of course she isn't vain. She just sits and wonders, in her artless Japanese way, why it is that she is so much more attractive than anybody else in the whole world? Nature is lovely and rejoices in her loveliness. She is a child of Nature, and takes after her mother.

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