"Hot Mikado" by Erewash Musical Society.

Duchess Theatre, Long Eaton.

As soon as Erewash Musical Society (EMUS) announced that they were performing this show, I just knew that I had to see it, I am a fan of Gilbert and Sullivan's light comic operas, and I also like jazz music, so the combination of the two genres, for me, was going to be an interesting watch. I already had the soundtrack, and love the blending of the two styles of music, and as always, seeing the production would only enhance the soundtrack experience.

So, what's it all about you ask......

"Hot Mikado" takes the classic Gilbert and Sullivan tale and updates it to 1940s-style. Young Nanki-Poo, the Mikado’s son masquerading as a Second Trumpet player, arrives in the town of Titipu looking for the beautiful Yum-Yum. After bribing various officials he learns that she is still going to be marrying a former tailor turned Lord High executioner, Ko-Ko. Meanwhile, the Mikado demands that Ko-Ko execute one person within the next month. Nanki-Poo agrees to be executed as long as he can spend a month as Yum-Yum’s husband. However, the plan goes awry when the Mikado makes a surprise visit to Titipu and brings with him Katisha, an older woman who is pursuing Nanki Pooh. Luckily, Nanki-Poo is not executed because he is the Mikado’s long lost son. Further, Ko-Ko and Katisha fall in love so Nanki-Poo and Yum-Yum can stay married.

Nanki Poo is played by Hayden Fletcher. The son of the Mikado, and heir to the Japanese throne, when he was betrothed to Katisha against his will, he ran away and disguised himself as a (less-than-talented) trumpeter for the Titipu orchestra. A naive and hopeless romantic, he will do anything to be with Yum-Yum, even be beheaded. This is a role made for Hayden. It has oodles of wonderful choreography, and anyone who knows Hayden will know what a talented dancer and choreographer he is. He also knows his way around a tune, and while this soundtrack may be very different to any that this cast may have done in the past, Hayden, and every one else just smashes every song. 

Yum Yum is played by Nicola Tuxford. The sweet, bubbly, middle child. She is betrothed to Ko-Ko but in love with Nanki-Poo. She is emotional and at times self-absorbed, as she wonders why she is "more attractive than anybody else in the whole world." A dark wig almost camouflages her - well the wig has very good volume - almost like Nicola's vocals. You heard every single word of these songs, and when she teams up with her other two little maids, the harmonies are akin to listening to girl trios like the Andrews Sisters, beautifully synced.

Katisha is played by Louise O' Boyle. Nanki-Poo's "just a teeny weeny wee bit bloodthirsty" bride-to-be. Although plain of face, she has "a striking left shoulder blade, fascinating right elbow, and stunning right heel". She comes to Titipu to claim her "prey"... er, fiancé. She is fierce, but quickly won over by Ko-Ko. Louise has a powerful weapon in her arsenal; her voice. There's a song in the second act called "Alone And Yet Alive", and with this arrangement it's a heart rending torch song, and Louise's rendition of this would make the eye of a needle weep. Katisha's costume is also a powerful weapon. Cut to accentuate Louise's figure, it clings and is slit to the thigh in the most vibrant of colours, and straight away cements the cougar vamp personality in your mind.

Pitti Sing, Yum Yum's elder sister, is played by Grace Deakin. The oldest of the three little maids. She is sarcastic at times but always speaks the truth. Grace is another actor whose voice has such power and control. Just before the big finale in the first act, there's almost a battle of the big voices between Katisha and Pitti Sing and I could feel the hair on the back of my neck start to rise, the vocals from both Grace and Louise were tingling.

Hayley Wood completes the three little school maids, and plays Peep Bo, the sassy, youngest little maid. She has a big voice, but tags along with her older sisters. And as I mentioned earlier, these three voices sound perfect together, especially in "Three Little Maids" which was given a harmonious boogie feel about it. Hayley has a lovely richness to her voice which also makes her stand out vocally.

The Mikado is played by John Fletcher. The Mikado is the "J. Edgar Hoover of Japan." Carefree and relaxed, he just wants every criminal's punishment to serve as entertainment, and he loves a good joke. Although his demeanor is never serious, he is very strict about following the laws of Japan. A while ago John told me that he had worries over the choreography for this role, especially the tap routines. Well Mr Fletcher, you must have worked hard on those dance steps because you smashed them, especially the tap number. The vocals were not bad either, and whoever would have thought that you and Hayden would have been cast as Father and Son in a musical eh? Natural built in chemistry and inherited talent. 

The Lord High Executioner, Ko-Ko, is played by Phil Deakin. Ko-Ko is the most unlikely candidate for his post of Lord High Executioner. He takes great pride in having power, but can't actually bring himself to execute anyone. He is Yum-Yum's fiancé and guardian. What I like about Phil is that he can play serious roles and then he can play brilliantly comical parts such as Ko-Ko and still look so comfortable in each and every role. Phil also has a nice line in facial comedy as Ko-Ko and uses that talent to his advantage, especially in his rendition of "Tit Willow". I love that suit as well.

Pish Tush, the coolest gentleman in all of Japan, is played by Evan Hagan. Pish Tush knows everything that is going on and has an opinion on it all. Evan has moved up from the Youth section of Erewash Musical Society to become one of the adult section actors. I last saw Evan in "Annie Get Your Gun" as Chief Sitting Bull, where he gave a solid performance. As Pish Tush he shows what a very strong voice he has, and just right for this type of music, especially when he has that growl in his voice. Evan is going to be a very useful addition to this group of actors with a voice like he has. I quote you "solid" and raise you both "talented" and "memorable".

Pooh Bah is played by Richard Dawson. "Lord High Everything Else," from the Archbishop of Titipu to the chief of police. He gives matter-of-fact advice from any of his many points of view, and will say anything (even state secrets) for a bribe. He is pompous and loves to show off, so far away from Richard Dawson the person which shows what a cracking actor Richard is. I loved all the "asides" to the audience, as if he was letting us into a secret all the time - a secret that we didn't have to pay extra for as well. It is no secret that Richard is a showman at heart - you must have heard his shows on Erewash Sound? - and his song and dance man persona rises to the top as Pooh Bah.       

Toby Wykes is the second young man to rise from the Youth Group into this musical, and he really makes an impression, especially with his dancing ability. I know that I have highlighted Toby for this talent in previous reviews and still he comes back with even more. His fluidity in the choreography is an absolute joy to behold and the constant enjoyment of being on stage from him just radiates. This young man, like Evan, shows the quality that comes from Youth teams in drama groups, ready to ascend to adult drama groups, and we all know just how important it is to be able to count talented singers and dancers who are male in drama groups. He makes you feel happy watching him dance.

Martin Briggs and Jonny Cox complete The Gentlemen of Japan, and I must mention the gorgeous costumes that Martin, Jonny, Evan, Richard and Toby wear throughout. I am so jealous. If I was involved I'd try and sneak those amazing suits out at the end of the run for my own wardrobe.

Playing The Ladies of Japan are Laurie Trott, Alex Tavener, Sue Hagan, Chrissie Oakden, Jane Freeman, Kathi Ludlow, Kaye Buck, Laura Dawson, Anna Fitzpatrick, Andrea Kemish and Karen Robbins.

Laurie Trott also plays The Cleaner. This section was pure comedy gold. Laurie, complete with fag drooping out the corner of her moth and pinny walked on and without even saying a word created laughter from the audience in a wonderful display of physical comedy. Who'd have thought sweeping up torn bits of paper could be so funny?

Directed by James Bowden, who is also the Co Musical Director with Martin Lewis. When a show is as perfect as it's going to be, there's no need for me to add anything else on either the Direction or the Musical Direction. This pair have so much experience in almost every aspect of musical theatre that when you see their names on a production team, you just know the show is in the very best of hands.

The on stage band itself produced some absolutely stunning swing/boogie/jive/lindy hop style music and while as a band they were incredible, I must mention Dave Shipley on drums; I'll be surprised if there's any skin left on those drums after another two shows on Saturday.

There are some brilliant songs in this show, and anyone who has seen the Gilbert and Sullivan version of "The Mikado" will know that. Most light opera devotees will instantly know "A Wanderin' Minstrel, I", "Three Little Maids", "Here's A Howdy Do", "Tit Willow", the very clever and lyrical "I've Got A Little List" and "Swing A Merry Madrigal" which starts off with four way accapella and then starts to really swing. The harmonies are joyful to hear.

Choreographed by yet another person who, when their name is in the programme, you just know is going to be of the highest quality, Ann Colgan. What Ann does not know about dance is not worth knowing. The choreography is as exciting as the jazz arrangements for this Gilbert and Sullivan show. There are glints of "West Side Story" and ballet alongside the tap routine and the jazz moves, all infused with such high energy levels.

What I must say though is that the male dancers in this show are on a par with the female dancers. I say that because often you see that the women dancers are slightly better at the choreography, but in this show, the lads really look to enjoy the choreography they are given and are really, really good at executing the choreography. That is a joint effort, I believe, between a choreographer who instills confidence in their dancers, and the dancers who are enjoying the rehearsal process of dance.

Set design is all thanks to Mark Robbins, Bill Robbins and EMS.

I have already raved about the wonderful costumes in this show but I couldn't see in the programme who was responsible for them. Every single costume stood out, and even though Hayden said that he looked like an ice cream salesman in his white suit, black shirt and white dickey, I'd have stopped him and bought one! Another super smart suit for The Mikado (John) and some gorgeous outfits for the ladies of Japan. I also couldn't see any credits in the programme for make up, wigs and hair but these also were stunning.

Lighting is by Steve Greatorex and the stage was awash with pastel shades creating a visually exciting lighting design.

Sound is where I usually have something ever so slightly negative to comment on at The Duchess Theatre with missed mic cues and the like. I am so sorry to report that I could not find anything even the slightest bit negative tonight because the sound was absolutely perfect. Every cue was spot on, I heard every word, it was perfectly balanced with the band on stage. Okay, I'm not sorry at all, I love it when perfection shines through in whatever field of production. All this perfection thanks to Dave Dallard

"Hot Mikado" is the hot ticket in town to get, but you've only got until Saturday 5 October to see this show when there's a matinee and an evening performance.