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Gentlemen of the fictitious Japanese town of Titipu are gathered "If you want to know who we are". A handsome but poor minstrel, Nanki-Poo, arrives and introduces himself "A wand'ring minstrel I".

He inquires about his beloved, a schoolgirl called Yum-Yum, who is a ward of Ko-Ko formerly a cheap tailor. One of the gentlemen, Pish-Tush, explains that when the Mikado decreed that flirting was a capital crime, the Titipu authorities frustrated the decree by appointing Ko-Ko, a prisoner condemned to death for flirting, to the post of Lord High Executioner "Our great Mikado, virtuous man".

As Ko-Ko was the next prisoner scheduled to be decapitated, the town authorities reasoned that he could "not cut off another's head until he cut his own off", and since Ko-Ko was not likely to try to execute himself, no executions could take place.

However, all of the town's officials except the haughty nobleman, Pooh-Bah, proved too proud to serve under an ex-tailor, and they resigned.

Pooh-Bah now holds all their posts and collects all their salaries. Ko-Ko enters "Behold the Lord High Executioner" and asserts himself by reading off a list of people "who would not be missed" if they were executed "As some day it may happen" , such as people "who eat peppermint and puff it in your face".

Pooh-Bah does not think that the girls have shown him enough respect "So please you, sir". Ko-Ko sends him away, but Nanki-Poo manages to meet with his beloved and reveals his secret to Yum-Yum: he is the son and heir of the Mikado, but travels in disguise to avoid the amorous advances of Katisha, an elderly lady of his father's court.

They lament that the law forbids them to flirt "Were you not to Ko-Ko plighted". Ko-Ko and Pooh-Bah receive news that the Mikado has just decreed that unless an execution is carried out in Titipu within a month, the town will be reduced to the rank of a village, which would bring "irretrievable ruin".

Pooh-Bah and Pish-Tush point to Ko-Ko himself as the obvious choice for beheading, since he was already under sentence of death "I am so proud".

Ko-Ko argues, however, that, firstly, it would be "extremely difficult, not to say dangerous", for someone to attempt their own beheading, and secondly, it would be suicide, which is a capital offence.

After ascertaining that nothing would change Nanki-Poo's mind, Ko-Ko makes a bargain with him: Nanki-Poo may marry Yum-Yum for one month if, at the end of that time, he allows himself to be executed.

Ko-Ko would then marry the young widow. Everyone arrives to celebrate Nanki-Poo and Yum-Yum's union "With aspect stern and gloomy stride" , but the festivities are interrupted by the arrival of Katisha, who has come to claim Nanki-Poo as her husband.

However, the townspeople are sympathetic to the young couple, and Katisha's attempts to reveal Nanki-Poo's secret are drowned out by the shouting of the crowd.

Outwitted but not defeated, Katisha makes it clear that she intends to get vengeance. Yum-Yum is being prepared by her friends for her wedding "Braid the raven hair" , after which she muses on her own beauty "The sun whose rays".

Pitti-Sing and Peep-Bo return to remind her of the limited duration of her impending union. Joined by Nanki-Poo and Pish-Tush, they try to keep their spirits up "Brightly dawns our wedding-day" , but soon Ko-Ko and Pooh-Bah enter to inform them of a twist in the law that states that when a married man is beheaded for flirting, his wife must be buried alive "Here's a how-de-do".

Yum-Yum is unwilling to marry under these circumstances, and so Nanki-Poo challenges Ko-Ko to behead him on the spot.

It turns out, however, that the soft-hearted Ko-Ko has never executed anyone and cannot execute Nanki-Poo. Ko-Ko instead sends Nanki-Poo and Yum-Yum away to be wed by Pooh-Bah, as Archbishop of Titipu , promising to present to the Mikado a false affidavit in evidence of the fictitious execution.

The Mikado describes his system of justice "A more humane Mikado". Ko-Ko assumes that the ruler has come to see whether an execution has been carried out.

Aided by Pitti-Sing and Pooh-Bah, he graphically describes the supposed execution "The criminal cried" and hands the Mikado the certificate of death, signed and sworn to by Pooh-Bah as coroner.

Ko-Ko notes slyly that most of the town's important officers that is, Pooh-Bah were present at the ceremony.

However, the Mikado has come about an entirely different matter; he is searching for his son. When they hear that the Mikado's son "goes by the name of Nanki-Poo", the three panic, and Ko-Ko says that Nanki-Poo "has gone abroad".

Meanwhile, Katisha is reading the death certificate and notes with horror that the person executed was Nanki-Poo. The Mikado, though expressing understanding and sympathy "See How the Fates" , discusses with Katisha the statutory punishment "for compassing the death of the heir apparent" to the Imperial throne — something lingering, "with boiling oil With the three conspirators facing painful execution, Ko-Ko pleads with Nanki-Poo to reveal himself to his father.

Nanki-Poo fears that Katisha will demand his execution if she finds he is alive, but he suggests that if Katisha could be persuaded to marry Ko-Ko, then Nanki-Poo could safely "come to life again", as Katisha would have no claim on him "The flowers that bloom in the spring".

Ko-Ko finds Katisha mourning her loss "Alone, and yet alive" and throws himself on her mercy. He begs for her hand in marriage, saying that he has long harboured a passion for her.

Katisha initially rebuffs him, but is soon moved by his story of a bird who died of heartbreak "Tit-willow". She agrees "There is beauty in the bellow of the blast" and, once the ceremony is performed by Pooh-Bah, the Registrar , she begs for the Mikado's mercy for him and his accomplices.

Nanki-Poo and Yum-Yum then reappear, sparking Katisha's fury. The Mikado is astonished that Nanki-Poo is alive, as the account of his execution had been given with such "affecting particulars".

Ko-Ko explains that when a royal command for an execution is given, the victim is, legally speaking, as good as dead, "and if he is dead, why not say so?

The Mikado had the longest original run of the Savoy Operas. It also had the quickest revival: after Gilbert and Sullivan's next work, Ruddigore , closed relatively quickly, three operas were revived to fill the interregnum until The Yeomen of the Guard was ready, including The Mikado , just 17 months after its first run closed.

From then on, The Mikado was a constant presence on tour. From until the Company's closure in , there was no year in which a D'Oyly Carte company or several of them was not presenting it.

The Mikado was revived again while The Grand Duke was in preparation. When it became clear that that opera was not a success, The Mikado was given at matinees, and the revival continued when The Grand Duke closed after just three months.

In —07, Helen Carte , the widow of Richard D'Oyly Carte , mounted a repertory season at the Savoy, but The Mikado was not performed, as it was thought that visiting Japanese royalty might be offended by it.

It was included, however, in Mrs. Carte's second repertory season, in — New costume designs were created by Charles Ricketts for the season and were used until In America, as had happened with H.

Pinafore , the first productions were unauthorised, but once D'Oyly Carte's American production opened in August , it was a success, earning record profits, and Carte formed several companies to tour the show in North America.

During , Carte was touring five Mikado companies in North America. Carte toured the opera in and again in in Germany and elsewhere in Europe. Thousands of amateur productions have been mounted throughout the English-speaking world and beyond since the s.

This production, which has been revived numerous times over three decades, is set not in ancient Japan, but in a swanky s seaside hotel with sets and costumes in white and black.

The Mikado is a comedy that deals with themes of death and cruelty. This works only because Gilbert treats these themes as trivial, even lighthearted issues.

Other examples of this are when self-decapitation is described as "an extremely difficult, not to say dangerous, thing to attempt", and also as merely "awkward".

When a discussion occurs of Nanki-Poo's life being "cut short in a month", the tone remains comic and only mock-melancholy.

Burial alive is described as "a stuffy death". Finally, execution by boiling oil or by melted lead is described by the Mikado as a "humorous but lingering" punishment.

Death is treated as a businesslike event in Gilbert's topsy-turvy world. Ko-Ko also treats his bloody office as a profession, saying, "I can't consent to embark on a professional operation unless I see my way to a successful result.

Ko-Ko's final speech affirms that death has been, throughout the opera, a fiction, a matter of words that can be dispelled with a phrase or two: being dead and being "as good as dead" are equated.

In a review of the original production of The Mikado , after praising the show generally, the critic noted that the show's humour nevertheless depends on "unsparing exposure of human weaknesses and follies — things grave and even horrible invested with a ridiculous aspect — all the motives prompting our actions traced back to inexhaustible sources of selfishness and cowardice Decapitation, disembowelment, immersion in boiling oil or molten lead are the eventualities upon which [the characters'] attention and that of the audience is kept fixed with gruesome persistence The term was commonly used by the English in the 19th century but became obsolete.

By setting the opera in a foreign land, Gilbert felt able to more sharply criticise British society and institutions. Chesterton compared the opera's satire to that in Jonathan Swift 's Gulliver's Travels : "Gilbert pursued and persecuted the evils of modern England till they had literally not a leg to stand on, exactly as Swift did.

I doubt if there is a single joke in the whole play that fits the Japanese. But all the jokes in the play fit the English.

About England, Pooh-bah is something more than a satire; he is the truth. Gilbert sought authenticity in the Japanese setting, costumes, movements and gestures of the actors.

To that end, he engaged some of the Japanese at the Knightsbridge village to advise on the production and to coach the actors.

The characters' names in the play are not Japanese names, but rather in many cases English baby-talk or simply dismissive exclamations. For instance, a pretty young thing is named Pitti-Sing ; the beautiful heroine is named Yum-Yum ; the pompous officials are Pooh-Bah [n 5] and Pish-Tush ; [n 6] the hero is called Nanki-Poo , baby-talk for " handkerchief ".

The Japanese were ambivalent toward The Mikado for many years. Some Japanese critics saw the depiction of the title character as a disrespectful representation of the revered Meiji Emperor ; Japanese theatre was prohibited from depicting the emperor on stage.

The first public production, given at three performances, was in in the Ernie Pyle Theatre in Tokyo, conducted by the pianist Jorge Bolet for the entertainment of American troops and Japanese audiences.

The set and costumes were opulent, and the principal players were American, Canadian, and British, as were the women's chorus, but the male chorus, the female dancing chorus and the orchestra were Japanese.

Thus it is easy to surmise that "Titibu", found in the London press of , became "Titipu" in the opera.

Japanese researchers speculate that Gilbert may have heard of Chichibu silk, an important export in the 19th century.

The town's Japanese-language adaptation of The Mikado has been revived several times throughout Japan and, in , the Chichibu Mikado was performed at the International Gilbert and Sullivan Festival in England.

One of the classiest players ever to grace a Scottish football park, Smith has a list of achievements to match his style. He laid on many a ball for the great Alan Gilzean and would go on to play times in three seasons for the club.

The season after winning the championship, he made no fewer than 48 appearances including a European Cup semi-final when he was aged Smith holds a remarkable personal record of winning the Scottish title with three different clubs, having already been a champion with Hibs and Hearts before becoming a Dee.

An inside forward, he played in the Great Britain side against a Rest of the World select in while still with the Rams and it was a real sensation when agreed to come back north to play for the Dens men.

He went on to win the League Cup with Dundee a year after arriving, setting up Alfie Boyd for the winner against Rangers in the final.

He made appearances for Dundee as was an integral part of a famous halfback line that also included Tommy Gallacher and Doug Cowie.

One of the classiest players ever to grace a Scottish football park, Smith has a list of achievements to match his style.

He laid on many a ball for the great Alan Gilzean and would go on to play times in three seasons for the club. The season after winning the championship, he made no fewer than 48 appearances including a European Cup semi-final when he was aged Smith holds a remarkable personal record of winning the Scottish title with three different clubs, having already been a champion with Hibs and Hearts before becoming a Dee.

An inside forward, he played in the Great Britain side against a Rest of the World select in while still with the Rams and it was a real sensation when agreed to come back north to play for the Dens men.

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