Arts Movie Reviews

Unlike previous Australian Opera adaptations of Gilbert & Sullivan operettas, this production
does not suffer from lyric substitution (that made obscure references even more obscure to non
Australian audiences).

The sound is very good and the quality of singing is about the best I've heard recorded on DVD (so far).

Unfortunately, there is no closed captioning or sub titles, so following along, for those unfamiliar with this score, can be a challenge. But everyone, including the chorus, enunciates quite well, so there shouldn't
be too much distress.

I hope there is more coming from Sydney. It would be nice to have a complete set (as the BBC attempted about 15 years ago). (I wonder if they are forthcoming?).

The quality of production was reminiscent of the D'Oyly Carte one that I caught (and carried in my memory)
in the early 1960's (at the NY City Center).

This is a Must Buy for a true Savoyard!

It is fascinating to see an opera company turn their attention to Gilbert and Sullivan. Patience herself is clearly a first-rate singer, and the staging is done with particular care and zest. The choreograpy of the duets and ensembles is a delight to the eye as well as the ear. The one drawback to the performance (that keeps it from FIVE STARS) is the use in the recording of some kind of "sound suppression" filter. One of the "twenty lovesick maidens" plays a diminuitive pair of cymbals, and whenever she crashes them, the entire sound is suppressed for two or three seconds, until the sound system can recover. This is initially distracting, but is more apparent in the first act than in the second, and should not keep anyone from the superb staging and performance which is given. Bunthorne is played with superb skill by a wonderfully supple character-singer. The twenty minutes which close the second act are for this reviewer eye-and-ear-candy which I play again and again, to delight in the wonderful work of singers, director, and choreographer. Where can we get more of such productions?

I have to admit that I bought this DVD for two reasons: I love Gilbert & Sullivan, and I think that Anthony Warlow has one of the most remarkable voices today. I was more than pleasently surprised by the quality of both the cast and the recording of this production. The voices are all very good (yes, they are opera singers, but hey, get over it - they were in G&S's time, too) and very understandable. Lady Jane is particularly wonderful.

We did "Patience" about thirty years ago at UConn, set in a lovely monochromatic design concept, which resembled a Blue Willow china pattern. The production was chock full of references to Oscar Wilde, Coventry Patmore, et alia. It was very campy and very well done. This video seems somewhat ho-hum in that Judith DePaul HAD to video the COMPLEAT G+S for the project in the UK in the Eighties. I get the feeling that the producers just said, about "Patience", we "we have to do it." It is too bad. "Patience", in many ways, is Gilbert's most brilliant libretto. Sullivan is not as his best here, but the score is certainly very good. I do agree with another reviewer here in that the work is far more topical than "Mikado" or "Pirates". But for anyone who knows the Aesthetic movement of the 1880s in London will howl at this very funny opera.

(Stratford Canada...PLEASE do this show! Your other G+S shows on DVD are brilliant!!!)

A couple of weeks ago I was reading an annotated version "The Picture of Dorian Gray," in which the editor mentioned the rôle Wilde played in popularising this operetta in the States. Since I recognised from the start the comic possibilities inherent in the Aesthetic movement, I couldn't wait until I saw what that genius Gilbert had made of it. I was certainly not disappointed--first by the libretto and score, and then by the marvellous sets, costuming, and vocal casting. The best cast members were the ladies of the Ambrosian Opera Chorus. The languorous, disdainful grace of their movements during the first scene with Patience was perfect, and their singing tight and very together throughout the entire show. I agree with David Olivenbaum that Anne Collins made a great Lady Jane, but I must say that the three leads (Bunthorne, Grosvenor, and Patience) were well-cast even though they don't fit the parts physically--having two aging men play young heartthrobs and a pretty blonde play a "plain, homely, unattractive" girl actually added to the irony and humour of the situation.
A must-see for anyone with a languid love for lilies, a passion for the super-aesthetical, and a predilection for transcendental dialogue--and for those who like to make wicked fun of the mincing, lily-loving, poetic types.

It is very difficult to find good videos of Gilbert and Sullivan anywhere ... If you like G&S and you don't have this opera, buy it -- it's purely delightful. You may also look up some of the other wonderful operas in this series.

While some Gilbert & Sullivan devotees may quibble with this Canadian version of their masterpiece, THE MIKADO, there's no denying this version's infectious energy and fun. This production by the Stratford Festival is awash with high-jinks antics, solid acting and a boldness rarely seen since the Kevin Kline/Linda Ronstadt version of THE PIRATES OF PENZANCE. Director Brian Macdonald directs this production with a sure hand and a fine sense of humor. Eric Donkin makes for a solid and delightfully uptight Ko-Ko, while the tall and very lanky Richard McMillan steals the show as the self important Pooh-Bah. Marie Baron's Yum-Yum is a pure delight, and Karen Wood is a delightful Pitti-Sing. Gidon Saks makes for a rather hammy, but delightfully fierce, Mikado. Henry Ingram seems a little old for the youthful Nanki-Poo, but he definitely gets into the spirit of this wonderfully broad production. Some fans may not appreciate the "modern" Canadian references nor the very slight liberties in the score, but this is probably the one production that doesn't treat the immortal work like a museum piece. This is definitely the best version on DVD to date and one that I would definitely recommend.

A different but very entertaining version of the Mikado, in which the cast takes a satiric view of the "state of things" at times but performs the numbers with great singing and performing talent and relish. The staging of the work is very sparse, but the performances of Nanki Poo, Pooh Bah (who towers over the rest of the cast), Yum Yum and most of all Koko (who essentially plays the clown but steals the show with his wonderful expressiveness and humanity) are rich. The Mikado is, even for the role, a bit over the top, but it does not detract. One interesting twist is some of the Canadian jokes and lyrics interspersed, especially in the List Song (yes, separatist does rhyme with list!). An added bonus is that on the big numbers the cast does a one or two verse encore immediately following the conclusion of the number, to the delight of the audience. A bit different but highly recommended and thoroughly entertaining start to finish.

The Mikado with a Canadian, satiric twist. A wonderful production that pokes fun at itself yet at the same time features outstanding singing, with a great bonus that on the big numbers the actors do a one or two line encore immediately following the song, to the delight of the audience. The staging is sparse but effective, and with the possible exception of the Mikado who is a bit over the top, the main characters -- Yum Yum, Nanki Poo, Pooh Bah and of course KoKo (who steals this show with his wit, sarcasm and humanity) -- are brilliantly played. Some of the special Canadian lyrics (especially on the list song) are hysterical (list does indeed rhyme with separatist), and all in all this is a highly enjoyable, if somewhat different and sui generis, performance of the Gilbert and Sullivan masterpiece.

On the whole, this was an exceptionally disapointing and in some respects offensive presentation. Not only were the vocalists weak (especially, unfortunately, William Conrad as the Mikado, who was uneven and even squeaky at times), but the scenery was garish and the costumes bordered on cheap. The choreography was also extremely spasmodic, and the work with the fans was flabby and erratic. An absolute low point was reached with Pish Tush, who not only wore the outfit of a Japanese ambassador from the mid 1930s, but also sported a set of genuine buck teeth. What was next on the list, one wonders, perhaps a set of "coke bottle" eyeglasses?

To see a happier performance of this material, in a style that respects the perfectionist production qualities of W.S. Gilbert, I highly recommend the 1966 D'Oyly Carte production instead. The difference between that performance and this abomination is the difference between the stylized elegance of kibuki and the low burlesque of, um, someplace that does really low burlesque.

I just received this video and have to say that on the whole it was very disappointing. The performances are very good, but the shoddy choreography and high shool-esque staging distracted greatly from the performances. Also troublesome are the glaring anachronisms throughout this production. I do particularly enjoy The Mikado, but this tape leaves much to be desired. Your money would be better spent on another production, or on a CD and the score.

This MIKADO video is an excellent production on every level. William Conrad does an excellent job as the eponymous title-role, even going as far as speaking in a so-called Japanese-English accent. Clive Revill, after many many years of playing the role of Ko-Ko, the Lord High Executioner, gives a marvellous and believable portrayal of the role here. The lovers and Katisha are all top-knoth, with Nanki-Poo as sweet and romantic as Yum-Yum, and Katisha fierry and commanding. As for the chorus, they are all supportive, and Alexander Faris's spirited musical direction is a treat as always. As with most of the other Brent-Walker G&S videos, the sound quality seems a little bit poor, but every word is still as crisp and clear as possible. The sets and costumes are all lush and sumptuous. Overall, this is a more traditionsal film compared to the 1987 English National Opera production, that I don't recommend very highly, that can hold its own with the best G&S films in the Brent-Walker series.

Neither Vincent Price nor Keith Michel can sing! That fact alone goes a long way towards destroying this rather bad presentation of the absolutely superb operetta that Gilbert and Sullivan wrote. What a contrast to the splendid job that the Canadian Stratford Company did with Gilbert and Sullivan.

While this video is worrth seeing, and perhaps owning, so that you have a copy of Ruddigore (which is hard to find) in your Gilbert and Sullivan library; I couldn't help but feel that the production of this opera suffered from the low-budget video tricks used to make it feel like other than a stage production. This was clearly a made-for-TV special that only a true G&S fan could love.

There is also way too much shameless mugging and general hammery in the production; Vincent Price is the exception to this, as his acting performance is fine, although his singing voice would never get him into D'Oyly Carte.

Other than this, the singing performances are fine. The staging interferes with the performance; picture a college stage production set interspersed with video bits reminiscent of the worst British pop videos of the late 1970s, and you get the idea.

It's true the RUDDIGORE is a problematical vehicle, but this production proves that, if properly handled, it ranks with the best of Gilbert and Swllivan's output. All of the major roles are particularly well cast and played, and the beginning of act two -- with the awakening portraits of gruesome ancestors -- is a marvel. My two daughters term this sequence the best Gilbert and Sullivan they've seen on videotape, and they've seen quite alot. This is the best of the four BBC productions I've seen on tape, and is wonderful fun. Don't miss it!

I agree with all the other reviewers said about the performance, but the play-within-a-play format cooked up for this particular production is a jarring note and distracts from the otherwise high quality production.

This is one of the most melodic of G&S operettas and I wish it were performed more often. "Whom Thou Hast Chained" is an absolute delight.

Of the Brent Walker Gilbert & Sullivan productions, I think this one is the best. The parts are cast quite consistently, rather than having great singers mixed in with bimbos who can't carry a tune or play their parts.

Of the Brent Walker Gilbert & Sullivan productions, I think this one is the best. The parts are cast quite consistently, rather than having great singers mixed in with bimbos who can't carry a tune or play their parts.

I recently worked with a local Gilbert and Sullivan theater company to put on "The Gondoliers," and it has been interesting to compare the live show with this particular film production. Opera World has done a surprisingly good job with this low-budget version; while the sound quality is still poorer than could be wished, the choreography and filming are infinitely better than those used in their disastrous rendition of "HMS Pinafore." Particularly outstanding are the performances of Don Alhambra (Keith Michell) and Marco (Francis Egerton). Michell's soft-voiced Alhambra is an interesting contrast to our own bellowing and confused one, and his cold condescension contrasts well with the boisterous Gondoliers and their wives; while Marco has less to do and say in the operetta than his brother Giuseppe, his incredible facial expression and quirky additions (such as the rose between the teeth during the Cachucha in Act II) give him at least as much on-screen presence. Giuseppe (Tom McDonnell) comes off as somewhat stiff and ill at ease during the first act, but begins to settle into his role during his aria "Rising Early in the Morning." The sound and choreography flag somewhat during the Duke's song "In Enterprise of Martial Kind," but are made up for in full by the charming Gavotte in Act II. Casilda and Luiz aren't given much to do, but they make the most of their time on screen with the lovely duets "O Rapture! When Alone Together" and "There Was a Time."

Musically "The Gondoliers" is one of Sir Arthur Sullivan's often-overlooked gems, and W.S. Gilbert's keen humor is as fresh and on-target as in his widely recognized works, "The Pirates of Penzance," "HMS Pinafore," and "The Mikado." While Gilbert and Sullivan are something of an acquired taste, for hard-core fans this production is still worth watching. If you are interested only in the music, I recommend buying a CD version instead; but if you're looking for something more, Opera World has produced a version which is quite satisfying.

The acting and the singing are both acceptable but not wonderful. The text was also difficult to understand.

The Gondoliers is one of G&S's greatest works and having just wrapped on The Gondoliers myself playing Gianetta, I found this production extremely enjoyable. With the exception of a few casting mistakes (The Duke and perhaps Casilda), I fully commend Opera World this time. They nailed the rest of the characters and cast them correctly (Michell (Don Alhambra), McDonnell (Giuseppe), Egerton (Marco), and Christie (Gianetta)) and even though the staging and technical stuff was not at it's best, the actors had enough energy and brilliance to their performance that the poor filming was masked. Great fun. If you are a G&S lover, this is a must-see.

I love this production of "The Gondoliers" for its festive costumes, wonderful choreography, and lively young cast. It captured me the minute I started watching and it made me laugh to tears. It brings joy. Wit and humor are the soul of Gilbert & Sullivan operetta, and they are carried out through the delightful music and the jocose librettos. In this production lyrics and dialogues were amiably given some modern treatment, which, for some audience, adds vividness, but for others, vulgarity. Well, for me, I appreciate its freshness and enjoy every bit of brilliancy on the stage.
While the whole company is excellent, from singing, to acting, and to dancing, the two adorable gondoliers, played by David Hobson and Roger Lemke distinguished themselves with their dashingly good looks and fabulous singing (no wonder the girls fall in a faint one after another). They pair very well and sound very good together. Several years later they paired again in La Bohème, giving superb performance as Rodolfo and Mercello. From comedic G & S to tear-jerking Puccini, what great talent they have!
I experienced no problem with the sound quality. The volume tends to be softer, but on a good sound system with Dolby 5.1, it gives pretty decent sound. Louder or softer, it's simply up to your ears.

I WAS NOT AWARE OF THE SYDNEY OPERA COMPANY UNTIL I SAW A PRODUCTION OF LA BOHEME. i FELL IN LOVE WITH DAVID HOBSON AND LOOKED FOR MORE. I FOUND THE GONDOLIERS AND FOUND IT TO BE EXHILERATING, ENCHANTING, IT SPARKLES, IT SHINES. IT MOVES RIGHT ALONG . UNLIKE SOME OF YOUR REVIEWERS I FOUND THE SOUND TO BE PERFECT. THE CHOREOGRAPHY WAS GREAT AND THE UPDATES A RIOT. UNLIKE THE PURISTS WHO LOVE TO BE NAYSAYERS IMPRESS OTHERS WITH THEIR SNOBBERY( BY THE WAY THE PURISTS NEED TO CHECK UP ON TRADITION OF G=S AND LEARN THAT UP DATES TO THE TIME WITH AD LIB IS PART OF THE SCORE...READ IT!!.)THE MAN PLAYING COUNTESS DEL TORO IS MAGNIFICENT AND SEEMED TO BE THE REINCARNATION OF HERMIONE GINGOLD. I DONT KNOW WHAT I TOUGHT WAS GOING ON IN THE SYDNEY OPERA HOUSE UNDER THOSE GORGEOUS SAILS BUT I KNOW NOW...PURE MAGIC.CAN YOU IMAGINE DAVID HOBSON WITH EAINE PAIGE? WOW. IF YOU WERE DISGUSTED BY THE PERFORMANCE I'LL BUY YOUR COPY FOR FRIENDS WHO HAVE TASTE.

I WAS NOT AWARE OF THE SYDNEY OPERA COMPANY UNTIL I SAW A PRODUCTION OF LA BOHEME. i FELL IN LOVE WITH DAVID HOBSON AND LOOKED FOR MORE. I FOUND THE GONDOLIERS AND FOUND IT TO BE EXHILERATING, ENCHANTING, IT SPARKLES, IT SHINES. IT MOVES RIGHT ALONG . UNLIKE SOME OF YOUR REVIEWERS I FOUND THE SOUND TO BE PERFECT. THE CHOREOGRAPHY WAS GREAT AND THE UPDATES A RIOT. UNLIKE THE PURISTS WHO LOVE TO BE NAYSAYERS IMPRESS OTHERS WITH THEIR SNOBBERY( BY THE WAY THE PURISTS NEED TO CHECK UP ON TRADITION OF G=S AND LEARN THAT UP DATES TO THE TIME WITH AD LIB IS PART OF THE SCORE...READ IT.)THE MAN PLAYING COUNTESS DEL TORO IS MAGNIFICENT AND SEEMED TO BE THE REINCARNATION OF HERMIONE GINGOLD. I DONT KNOW WHAT I TOUGHT WAS GOING ON IN THE SYDNEY OPERA HOUSE UNDER THOSE GORGEOUS SAILS BUT I KNOW NOW...PURE MAGIC.

...but they definitely could have been better!

It's beyond me why they kept those Douglas Fairbanks Jr. commentaries during the transfer to DVD. Ugh! Useless comments, laughing at his own (lack of) humour, etc.. Thankfully, they can be skipped.

My comments for the most part parallel the previous poster's. I feel the productions showcase the wrong set of people attempting something they really shouldn't have. There are a few (few being the operative word) decent performances. But for the most part, there's an annoying quality about each opera that leaves one feeling less than satisfied.

If the aim was to preserve these operas on film, why couldn't they film them either as a movie (like "Pirates" with Kevin Kline...though possibly not quite so elaborate) or as a stage production (like the grand operas are filmed)? These come off as a cheap rendition of the operas because they are something in between. "Outside" areas look very inside...because they are. At least if you know you'll be seeing a staging, your expectations are geared that way.

I wonder why an opera company with a decent budget couldn't restage these properly and re-film them starting now over a few years. This set is from 1982 and the quality of filming (including special effects [such as those in "Ruddigore"...not sure I liked those]) has improved greatly since then.

On the plus side, the operas are for the most part complete and it's nice to be able to watch the whole production.

Of the batch, "Pinafore" is definitely the worst! I'm not sure what would be the best.

For many (most?) of us, this set provides the first chance to see as well as hear all of the principal G & S operas except "Trial by Jury," in all their "innocent merriment." That said, I have to observe that the set is not a source of "unalloyed pleasure." The individual productions range from very good to unmitigated disasters. At the same time, I must acknowledge that it is something of a miracle that any of them are even acceptable because they were produced under conditions that virtually guaranteed that excellence was impossible: the principals apparently worked under the handicap of singing to pre-recorded accompaniment, allowing them no flexibility of phrasing for expression. In addition, each production was rehearsed for only a week and then taped in a week. All are plagued by generally poor diction, especially from the chorus, and by lots of busy, pointless moving around, especially by the chorus. When the chorus has to brandish swords, staffs, lilies, etc., the members rarely are together. Dancing, choreographed by Terry Gilbert (no relation, I'm sure!), is at best passable. Finally, the scenery and costumes mostly look low budget.

Casting is odd. The producers apparently didn't trust the material, so they brought in a "name" performer or two to "star" in each production whether or not they could contribute anything but their names. Some of them are very good, others are disasters. Clive Revill gives excellent performances as John Wellington Wells ("Patience") and Ko-Ko ("Mikado"), and Joel Grey is a wonderful Jack Point ("Yeomen"). Peter Allen brings nothing special to the Pirate King, but he does not disgrace himself or spoil the production. William Conrad as the Mikado can't sing, and he delivers his lines in a strange, falsetto-like voice at odds with the character. Vincent Price can't really sing, either, but he manages to bring off Despard ("Ruddigore") with credit through canny professionalism. Frank Gorshin brings nothing but monotony to King Gama ("Princess Ida").

Peter Marshall and Frankie Howerd combine to utterly destroy "Pinafore." By his own account, Marshall decided to play Captain Corcoran as a song-and-dance man, which has no connection with the character created by Gilbert & Sullivan. Howerd included bits of his standard comic shtick, even though they are totally unrelated to the character of Sir Joseph. Gilbert would have keel-hauled both of them, along with staging director Michael Geliot for letting them get away with it.

"Princess Ida" is staged as a kind of charade or show at some posh estate. This conceit makes the piece mostly unintelligible.

Several distinguished opera singers make substantial contributions in the roles they play. Derek Hammond-Stroud is a superb Bunthorne ("Patience"), but his Lord Chancellor ("Iolanthe") is vitiated by David Pountney's staging, which puts most of the action in the House of Lords, contrary to the libretto; the recognition scene with Iolanthe goes for nothing, when it should be touching. Anne Collins gives enjoyable performances as Jane ("Patience"), the Queen of the Fairies ("Iolanthe"; also compromised by the staging), Lady Blanche ("Princess Ida"), Katisha ("Mikado"), and the Duchess of Plaza-Toro ("Gondoliers"). Elizabeth Bainbridge is a solid Dame Carruthers ("Yeomen"). Stafford Dean is a decent Pooh-Bah ("Mikado"). Richard Van Allan sings Private Willis ("Iolanthe") strongly, but his impact is diminished by Pountney's staging.

One puzzle of the casting is why only two D'Oyly Carte veterans were used. Donald Adams shows his clear mastery of the style in "The Sorcerer" (Sir Marmaduke), "Patience" (Col. Calverly), and "Ruddigore" (Sir Roderic), as does Gillian Knight (Ruth) in "The Pirates of Penzance." Both have exemplary diction and project the characters they are playing while they sing and move. They would have been welcome in many more roles, along with other members of the company.

Each act of each opera is introduced by Douglas Fairbanks, Jr., in stilted, uncomfortable fashion; your DVD player will let you skip him. The booklets with each set have cast lists (including a few errors and omissions) and texts of the musical numbers. Some familiarity with the librettos is certainly useful. In this connection, the ideal companion would be Ian Bradley's "Annotated Gilbert and Sullivan" (Oxford University Press).

In spite of the problems and disappointments, we're not apt to have any alternative to these productions if we want the G & S canon for our home screens. Acquisition of this set should certainly be supplemented by the 1939 film of "The Mikado." It has some peculiarities as a production, but it also has the matchless Ko-Ko of Martyn Green and the first-class Pooh-Bah of Sydney Granville, plus a surprisingly winning Nanki-Poo from Kenny Baker.

This is the "Brent Walker" series, noticeably missing from home video for some time. The set makes up the bulk of the G&S popular canon. Recorded but missing are "Trial by Jury" and "Cox & Box" (more on that in a minute).

I saw the series on PBS when it was originally aired about twenty years ago and enjoyed it very much. Bootleg off-air copies and a short-lived VHS release of the series have been all that's available of the Brent/George Walker set until now. I hear that copyright fights over the videos have resulted in years of delays. There must still be a problem with what would be the 11th DVD in the set: "Trial by Jury", coupled with "Cox & Box", which had been released on the the VHS tapes. Perhaps someone else has the facts about this omission.

Over the years aficionados have argued the videos' production values which seem to vary somewhat from opera to opera. However, the use of close-ups and conventional television effects make for good television, and these are definitely not videos of live stage performances and should not be judged as such.

-True, it's not D'Oyly Carte.
-True, each opera has had some trimming - lines of dialog here and there, a dropped verse or even a song now and then, but they still flow nicely over all.
-True, the choice of comic and romantic lead singers seem strange at times (William Conrad as "The Mikado"!).
-True, these DVDs do have the annoying introduction and intermission lectures by Douglas Fairbanks, Jr. which no one I know has ever thought necessary.
-True, optional subtitles might have been nice to have, especially for the some of the rapidunintelligiblepatter songs.

BUT - This is probably the best we're going to get of (almost) everything under one roof.

Being brought up on G&S during my youth in England, I was shocked to behold the Opera Australia's production of "The Mikado". I have other dvd recordings of Opera Australia
where I find The Gondoliers and Patience to be quite outstanding.
BUT their version of Mikado is crass, vulgar and cheap.
The scenery and costumes and that unearthly makeup would certainly cause G&S to turn in their graves.
I beg to differ with an earlier reviewer to didnt appreciate the Canadian Stratford version. At least the singing was better
even if the scenery was sparse.
Greme Ewer, whom i enjoyed in the Gondoliers was a poor Ko-Ko.
He stretched the character beyond recognition and his singing voice was unsuitable for his character.
Of the quality of singing and acting, only one singer came shining through. Heather Begg, who is also on the Patience disc, made the most of an otherwise poor production.
The orchestra as usual is top notch, although I fear there were
some alterations to the score. as is also evidenced in the Stratford production.
I will never understand why people have to meddle with perfection. Just leave G&S alone. They can stand on their own ad infinitum and not ad nauseam as some productions are.
I do not believe there are any D'Oyly Carte performances
on video in the US, but if readers want to hear the operettas
on cd there are several D'Oyly Carte recordings available.
And They Are The Real McCoy!!!

Ever since Joseph Papp souped-up "Pirates of Penzance" in the 1980's there has been a tendency by directors to treat the Savoy Opera's as if they were decrepit museum pieces that could never rest on their own laurels. While a fresh new approach to any classic can be interesting, I'm afraid this Australian Opera production is so over the top that any charm goes sailing out the window as soon as the curtain goes up. The sound, as already noted by others, is deplorable. There are now a total of three (3) "Mikado's" on DVD, all of them wanting. Oh, when, oh when, will some kindly distributor take pity on us Savoyard's and release the beautiful D'Oyly Carte performance from the 1960's?

As much as I wanted to like this production of Gilbert & Sullivan's classic opera of Japanese hijinks, this Opera Australia production was marred by both uneven performances and a DVD soundtrack that borders on the poor side.
It's truly a shame as there is much to like in this production. The costumes, a curious mix of British and Japanese styles, are very colorful and fun. The set, with it's almost "Alice in Wonderland" feel, is both majestic and involving. It also boasts some very solid performances in Heather Begg's touching, if nasty, Katisha and the sly rendition of Pooh-Bah by Gregory Yurisich. Anne-Maree McDonald is a delicious Yum-Yum, while Robert Eddie makes for an imposing, if a tad bland, Mikado. Unfortunately, Graeme Ewer's Ko-Ko is all mock posture and no heart. Indeed, it is one of the flattest performances of the role that I have ever seen. His only triumph is his plaintive and touching performance of the "Titwillow" song. Jennifer Bermingham's Pitti-Sing is much too harsh to be likable, while Peter Cousen's Nanki-Poo comes across like a smarmy brat. Add to that a soundtrack that is very soft in volume and flat, and you have a MIKADO that is pure frustration to watch. This might be worth your time to at least catch the high points mentioned, but there are other and better versions of this classic available for you to own and enjoy. Recommended for MIKADO completists only....otherwise avoid this one.