Hot Mikado as presented by Thurles Musical Society

Thurles Musical Society 

Hot Mikado 

Saturday 29th March 2025 

‘Hot Mikado’ made a welcome, roaring return to the AIMS circuit this year with Thurles Musical Society taking on the upbeat adaptation of the Gilbert and Sullivan classic in the Premier Hall. This version of the satirical G&S operetta retains the language and wit of the original, renowned for its convoluted plot twists. However, the Rob Bowman score is a jazzy, high-octane interpretation, drawing on gospel, blues, and swing influences which ‘heat’ the source material to. It’s a show that features romance, comedy, an inexperienced executioner, and no flirting. None whatsoever. Thanks to skilled direction and intelligent performances, this was a very impressive take on a show that, a quarter of a century ago, was one of the most produced shows on the AIMS calendar. 

Front of house had fabulous Japanese-themed displays which set a great tone. I received a lovely, warm welcome and it was great to catch up with some AIMS stalwarts as they met and greeted with a smile. The Premier Hall was festooned with beautiful paper lanterns, adding to a wonderfully immersive atmosphere. Tiered seating had been installed since my last visit to Thurles, making the theatre experience all the more special. 

Oliver Hurley directed this feast of comedy, choreography and colour with great flair and pizzazz. There were some lovely touches in this highly energetic and pacy show. Ko-Ko arriving through the audience on his bicycle was a funny addition, as was Katisha's dramatic arrival, bursting through a Japanese screen. There was an incredible pace to scenes and very good focus on principal characterisations. There was a very impressive, ‘animated’ cast freeze during Katisha's superb ‘Hour of Gladness’ and what a triumphant moment it was when Katisha appeared at the end of Act One, descending from above on an enormous Japanese soribashi bridge, spanning the width of the stage. A most unexpected but delightful moment of theatrical and technical wizardry. 

Mary Rose McNally did a wonderful job as musical director. Her band, cleverly hidden behind a sliding screen on the upper level, displayed exceptional musicianship. There was very strong vocal work throughout the show. Diction in the ‘Sit in solemn silence’ section of ‘I Am So Proud’ was exceptionally good, as was the harmony work from the trio. There was an exceptional choral sound in ‘For He's Gonna Marry Yum-Yum and the finale of Act One was fabulous, especially the basses and tenors as they were featured. The ensemble sound during ‘Braid the Raven Hair’ was glorious, with exceptional balance between vocal parts. Similarly, there were wonderful vocal dynamics and superb balance in ‘Swing a Merry Madrigal’ with both the quartet and the chorus excelling in what was one of the musical highlights of the show. 

Oliver Hurley also took on the role of choreographer, supported by Dance Captain Siobhán King. The one thing that shone through the choreography was that, even though there were 

varying abilities of dance and technical abilities across the cast, there was huge energy throughout from a very large ensemble and everything was performed to a high standard. The execution (sorry!) of ‘We Are Gentlemen of Japan’ could have been a little bit more precise from the male ensemble but, overall, it was a very well choreographed number with good formations and great use of the playing space. There was very clever work in ‘I Am So Proud,’ with the passing of the letter combining strong movement and comedic business whilst maintaining the accuracy of the narrative. ‘Let the Throng Our Joy Advance’ was a wonderful ensemble number full of energy and great performance levels. ‘The Sun and I,’ did not work for me personally. I felt that the two dancers, one representing the sun and one representing the moon, took away from Yum-Yum’s beautiful, heartfelt vocal performance. It was a lovely idea, beautifully performed by the dancers, but I felt that it was too busy and distracting when our focus should have been on the lyrics and Ms. Kirby's beautiful interpretation and sentiment rather than a literal commentary through dance. ‘Mikado Song’ was a wonderful number with fabulous tap dancing and excellent performance levels. Likewise, ‘Sing a Merry Madrigal’ was sharp and full of synchronised, joyous choreography. The finale number was excellent, a fitting finish to what was a superbly choreographed and danced show throughout. 

The very talented Conor McNelis brought an infectious energy and likeability to the role of Ko-Ko. He was a wonderful, natural comedian, physically, facially, and vocally. Comedic timing was exceptionally good. Mr. McNelis was such a clever performer. His wonderfully intelligent delivery brought welcome clarity to the convoluted narrative of the very wordy ‘Here's a Howdy-Do.’ He was very funny indeed wooing Katisha in the hilarious ‘Tit Willow.’ He had a great voice and displayed a natural musicality as he cleverly negotiated the higher notes of the chorus in ‘Beauty in the Bellow.’ A tour-de-force comic performance. 

Marie-Therese Kirby was an excellent Yum-Yum, caught in a convoluted love triangle and torn between complying with her duty to wed Ko-Ko and her affection for Nanki-Poo. Ms. Kirby very much played up the comic elements of Yum-Yum's character and it really worked, as she used her wonderful intelligence as an actress to get great comic mileage from the role. Her presence and stagecraft were wonderful and her diction was exceptionally strong. She shone in all of her duets and trios, displaying a lovely vocal tone and strong musicality. ‘The Sun and I’ was a stunning performance, vocally. A wonderful all-round performance from Miss Kirby. 

Danielle Martin did very well as Pitti-Sing. She had very strong stage presence and did well with her gospel-style, vocal riffs in ‘For He's Gonna Marry Yum-Yum.’ Her determined ‘sing off’ with Katisha brought a fiery edge to her portrayal which really worked. 

Denise King completed this strong trio of ‘little maids from school.’ A very skilled comedienne, Ms. King played the role with an energetic ditziness and wonderful comedic delivery in what was a very charming performance. I particularly liked her facial expressions and funny delivery during the “burial alive” scene. She too sang very well, particularly during ‘Three Little Maids and with its challenging, close harmony. 

Mark O’Gorman played wayward son of the Mikado, Nanki-Poo. He had a fabulous tenor voice with a great range. He had good comic timing and his accent was generally secure. I did feel that he needed more direction, at times, to really get the most out of his performance. I felt that he needed to tell the story more in ‘Here's a Howdy-Do.’ Yes, it's challenging in its wordiness but the storytelling is key and a little bit more investment in the words would have transformed a good performance into a great performance. Mr. O’Gorman is still very young and I think that he has a wonderful future ahead. I really look forward to seeing him build on this performance and shining in future roles. 

Ben Collins was a very strong Pish-Tush. Mr. Collins was an excellent actor and brought infectious energy to the role, whilst also standing out in ensemble numbers as a wonderful performer. He was superb in ‘I Am So Proud’ and did exceptionally well in ‘Braid the Raven Hair,’ showcasing his crystal clear, soaring tenor voice in what was a very impressive performance. 

I loved David McElgunn’s performance of a very intimidating Mikado. His mafioso-style delivery with commanding presence, excellent comic timing and exceptional diction, made him a firm audience favourite, in spite of his psychotic tendencies. He really did own the stage for his scenes. And what a superb voice he had too, really nailing the ‘Mikado Song’. Not content with just singing well, he also had a star turn when it came to tap dancing. An excellent all-round performance. 

The character of Pooh-Bah shines a satirical light on those who might abuse power for personal gain (imagine!). Lord High Everything Else was played with great aplomb by Frank Tuohy. Mr. Tuohy had strong command of dialogue generally, although he was a little hesitant with lines at times. He displayed great pomposity as the greedy, open-to-corruption politician-type, with a finger in every pie. He had a superb baritone voice in ‘I Am So Bad.’ I felt that he really needed to commit to each of his ‘personae’ when switching between accents. Some accents were strong and humorous, whilst others appeared a bit nondescript and apologetic, even though it was clear that he was well able. I felt that he needed to hit each one full on and not hold back. To borrow one of his own lines, “Don't stint yourself, do it well.” I loved his wonderfully long held note at the end of his “long life to you” toast. 

Linda Ryan gave a fabulous performance full of depth and complexity as the jilted Katisha. Ms. Ryan was hilariously intimidating but she also brought a layer of vulnerability to the role, which was refreshing. We loathed her, we laughed at her antics but we pitied her also. ‘Alone and Yet Alive’ was a fabulous, goosebump-inducing performance with exceptionally good control as the song built to its climax. Ms. Ryan’s scenes with Ko-Ko were top notch, comedy gold, with ‘Tit Willow’ and ‘Beauty in the Bellow’ being standout numbers in a superbly funny, all-round performance. 

There was great work from the large, well-rehearsed and focused ensemble. I loved the wonderful reactions from the gentlemen in their opening scenes. There were great reactions too as Katisha returned to claim Nanki Poo. Kudos to all for their very effective freeze during ‘The Hour of Gladness,’ although one or two needed to be a little bit more disciplined with their timing going into the freeze. There was exceptionally good work in the Mikado scene as he regaled them with tales of executions and boiling oil. The sharpness of their reactions as they came up and down during that scene was exceptionally good and so well directed. 

Stage manager Anthony Kirby did a very impressive job all night with what can only be described as a colossal set. Scene changes were slick throughout. Everything flowed so well and crew members operated with military precision. Katisha's bridge, flying in at the end of Act 1, was an absolute triumph of design and operation. The only slight hitch was with the torii gate, specifically the stage right piece, which didn't make it on for its first scene. There was no issue in subsequent scenes and this is a small point in what was very strong stage management overall, coping with an enormous set and a huge cast. 

You always know when you attend a Thurles MS show that the set is going to be full of surprises and on a very large scale. ‘Hot Mikado’ was no exception. I couldn't get enough of the gloriously lit pre-set with its beautifully fanned floor and its giant fans with gorgeous blossom detail. Scenic artistry was superb in this finely detailed set. The backlit, sliding screens, so evocative of Japanese architecture, added greatly to the overall aesthetic. The ramps from stage left and stage right provided great opportunities for levels and for entrances and exits. Whilst the torii gate looked wonderful, with its impressive size and beautiful finish, I did wonder if it was entirely necessary and if it added anything to the flow of the show. With everything else looking so well, I felt, at times, that it might have been an unnecessary addition, causing distraction during its entrances and exits when an open stage might have sufficed. Just a small observation. 

Lighting for this show was exceptional, with excellent use of colour to complement the vibrancy of the costumes and sets. There were stunning pictures created in ‘I Am So Proud’ and great use of haze right throughout the show to accentuate strong, dramatic beams which created some stunningly theatrical states. There great use of colour and moving lights in the finale of Act 1 to help maintain an upbeat, joyous, and celebratory feel. ‘Alone and Yet Alive’ was a triumph of lighting, music, and wonderful acting from Ms. Ryan, with each element complementing the other on stage. 

Sound was exceptionally good. The band was perfectly mixed and levels were really well managed throughout. There was superb balance amongst performers. Ensemble vocals were a joy to listen to with every single harmony line clear and balanced. The very challenging ‘For He's Gonna Marry Yum-Yum’ was outstanding in this regard. There was also stunning balance between the quartet in ‘Swing a Merry Madrigal.’ All dialogue was very well cued and EQ levels on mics were appropriate, with a warm, full sound from all performers. 

There was great attention to detail in the props department, with the obligatory fans, a not so-little list, and parasols, which were used to great effect at the end of Act 1. The Mikado's rickshaw was a fine vehicle and I loved the myriad props which added to the comic business, including the puppets in ‘Tit Willow’ and Ko-Ko's wonderfully constructed extended arm. 

Hair and makeup were very well looked after. The fabulously detailed hairstyles and headdresses of the little maids were a visual treat and even Ko-Ko’s carefully tousled hair complemented his bumbling character. Of course, the highlight was Katisha, whose over the-top severity of makeup and superbly dramatic wig added so much to her character. Very good work from all involved. 

Costumes were excellent from the brightly colored suits of the gentlemen of Japan to the ladies equally colorful dresses. The fabulous purple and gold kimono was a fine piece. Ko Ko’s checked suit was perfect for the role and I loved Katisha’s villainous look which was so darkly dramatic. The Mikado looked suitably imposing in his sharp white suit. The uniformity of the gentlemen’s black hats did jar with me a little bit and I wondered if something could be done to tie these in with the colours of their suits, shirts, or ties to personalise them. 

Thurles Musical Society produced a wonderfully uplifting, exuberant and very funny production of ‘Hot Mikado.’ It has been too long since this wonderful show has had a showing on the AIMS circuit and this was a very welcome return. I really hope that it continues to be produced around the country as it was clear in the Premier Hall that it is a huge audience favourite, with everyone leaving on a high thanks to this superbly presented version of the show. Like Mr. Bah, Thurles MS should be well proud. 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Photos by John O Loughlin