Overview
Synopsis
Since its premiere in 1885 at the Savoy Theatre in London, The Mikado (or The Town of Titipu) has become one of the most-performed pieces of musical theatre in history. As with many of Gilbert and Sullivan’s productions, the show satirizes aspects of Victorian Britain’s politics and aristocracy; in The Mikado, however, the duo cleverly cloaked these criticisms behind a charming story set not in Britain, but in exotic Japan. Nanki-Poo, the son of the Mikado (the Japanese emperor), has fled in disguise to avoid marrying a much older suitor, and to find and marry his own beloved, the beautiful Yum-Yum. Yum-Yum, however, is the ward of Ko-Ko, the lord high executioner, and has become betrothed to him against her will. In the meantime, Ko-Ko finds his job difficult to carry out as the Mikado puts pressure on him to fulfill his quota of killings, but the executioner realizes he is too soft-hearted to kill anyone. His solution is to trade a month of marriage to Yum-Yum for Nanki-Poo’s life (though he only pretends to kill him), but, of course, the plan backfires as Ko-Ko finds himself subject to capital punishment for allegedly killing the Mikado’s son. As usual in Gilbert’s imaginative plots, the tangled web unravels, and everyone lives happily ever after. This complex satire is characterized by the clever wordplay, memorable tunes, and endearing characters that have allowed Gilbert and Sullivan’s popularity with audiences to endure for well over a century.
Show Information
Context
Performance History
The Mikado, one of Gilbert and Sullivan's most famous operettas, premiered on March 14, 1885, at the Savoy Theatre in London. It was the ninth collaboration between composer Arthur Sullivan and librettist W.S. Gilbert, and it quickly became a staple of the musical theater repertoire.
Upon its premiere, The Mikado received a warm reception from both audiences and critics. It ran for 672 performances at the Savoy Theatre, a remarkable feat at the time, reflecting its
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Act One
As act one opens, residents of the fictitious Japanese town of Tipitu gather together (“If you want to know who we are”). Nanki-Poo, the son of the royal mikado, arrives in Titipu disguised as a peasant and introduces himself (“A Wandering Minstrel, I”). Without telling the truth about who he is, Nanki-Poo explains that several months earlier he had fallen in love with school-girl Yum-Yum. However he discovered that she was already betrothed to Ko-Ko, a cheap tailor, and he
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| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Female |
Soprano |
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Lead |
Male |
Tenor |
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|
Supporting |
Female |
Soprano |
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|
Supporting |
Female |
Mezzo-Soprano |
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|
Supporting |
Female |
Alto |
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|
Supporting |
Male |
Baritone |
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Supporting |
Male |
Baritone |
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Supporting |
Male |
Baritone |
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Supporting |
Male |
Bass |
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Ensemble |
Either or Both |
Variety |
Songs
Act I
Act II
A song with an asterisk (*) before the title indicates a dance number.
Monologues
Scenes
Key Terms
Comic opera is a form of opera that blends lighthearted stories with music, emphasizing humor, wit, and playful situations rather than tragedy. It often satirizes social customs or authority figures, using exaggerated characters and lively ensembles. The style contrasts with grand opera by focusing on accessibility, entertainment, and comedic resolution.
Farce is a comedic style that emphasizes exaggerated situations, improbable coincidences, mistaken identities, and rapid pacing. It often includes physical humor such as slamming doors, frantic chases, or characters hiding in plain sight. Farce is designed to generate nonstop laughter, often prioritizing chaos and absurdity over realistic storytelling.
Short for 'legitimate theatre,' referring to traditional stage drama as opposed to musical or commercial performance. The term is also used to describe a classical vocal tone suitable for operatic or legit musical theatre roles.
A light, often humorous opera with spoken dialogue and romantic plots, bridging opera and musical theatre.
Parody is a comedic imitation of a style, genre, or work that exaggerates its features for humorous or satirical effect. In theatre, it playfully mocks conventions, characters, or cultural icons while still relying on audience recognition of the original. Parody can both celebrate and critique its subject, often blurring the line between homage and ridicule.
Rapid and rhythmic speech or singing, often used in comic opera roles or musical theatre for humorous effect.
Works not protected by copyright and available for free use or adaptation. Many classical plays, including Shakespeare's, fall into the public domain.
Satire is a dramatic style that uses humor, irony, and exaggeration to criticize human behavior, social institutions, or political systems. In theatre, it highlights flaws and hypocrisies through wit and parody, encouraging audiences to laugh while also reflecting on serious issues. Satire can range from lighthearted comedy to biting social commentary, making it both entertaining and thought-provoking.
Relating to the period of Queen Victoria’s reign (1837–1901), which influenced theatrical style, costume, and themes.
Videos
Quizzes
Themes, Symbols & Motifs
Themes
Satire of Authority and Bureaucracy –
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*“My object all sublime, I shall achieve in time— / To
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