Mikado, the Opening

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On March 14, 1885, Gilbert and Sullivan's Mikado opened for a run of what would be 672 performances of this first production (1) at the Savoy Theatre in London for an audience that included, among other notables, the Duke and Duchess of Edinburgh.(3) On June, 6 1885, William Steinway was in London and he, with August Rummels and their wives, spent an evening at the Savoy as William spent many evenings, both at home and abroad, enjoying a night of musical theater in the company of family and friends.(Diary, 1885-06-06) On this night, unlike many other nights recorded in the diary, William had nothing to say one way or the other about the performance, performers, the music, or the plot.

Original Cast:

The Mikado of Japan	R. Temple
Nanki-Poo	Durward Lely
Ko-Ko	George Grossmith
Poo-Bah	Rutland Barrington
Pish-Tush	Frederick Bovill
Yum-Yum	Leonore Braham
Pitti-Sing	Jessie Bond
Peep-Bo	Sybil Grey
Katisha	Rosina Brandram
Chorus of School-Girls, Nobles, Guards, and Coolies

  
On opening night, the critics had not been so silent. The Daily Telegraph, was upbeat, referring to Gilbert as a "verbal humorist" and Sir Arthur Sullivan as "a humorist in music." The production itself was praised for the costumes, scenery and appointments. The performance of the three little school girls was especially noted, along with the acting and singing of many of the principals. All in all, it concluded, the success of the performance was ratified as the curtain fell by "loud calls for the chief artists, the author, the composer, and Mr. D'Oyly Carte."(4)

The London Times was not as upbeat in a rambling, verbose, and sometimes condescending account of the opening. The reviewer had hoped that their newest work would differ from previous models being perhaps "less farcical, more psychologically subtle, more serious in fact, albeit still humorous." The structural elements were described as predictable variations on previously used themes, the only variation being the geographic setting and accompanying costumes. Even here though, the critic complained the music reflected none of this local color, forgoing the use of the Koto and pentatonic scale, for example. In summing up, this was clearly a case that the reaction of the audience showed "the popularity of the collaborators has reached a point where success depends no longer on intrinsic merit."(2)

The American Art Journal seems to have leaned in the direction of The London Times, noting that the opera was not as amusing as some of the earlier ones and observed that "The audience was, it is true, not particularly enthusiastic."(3) William must have believed the show had some merit, although he clearly had not been wowed. The following year, as some family spent the evening of February 16, 1886, at the Thalia taking in a performance of Mikado, William stayed behind and worked.(Diary, 1886-02-16)

[dr/lgh]

Sources:

1. Fun Facts about The Mikado, http://www.performanceriverside.org/lists/static/199.html 
2. “A Japanese Opera,” The Times of London, Monday March 16, 1885, p.4.
3.  “The Mikado,” The American Art Journal, Saturday, April 4, 1885, Vol. 42, No 24, pp. 790-791.  Reel 18
4.  “Savoy Theater,” The Daily Telegraph, March 16, 1885, p.3.