Gilbert & Sullivan’s The Mikado is a quintessentially English concoction where English bureaucracy collides with faux Japan to create a madcap entertainment that is full of satire, absurdities and slapstick. The fact that it is one of the most frequently performed musical theatre pieces of all times is testament to the fact that 19th century satire and political innuendo can so easily be transported into the 21st century, thus ensuring that the laughter flows seamlessly for a modern audience.

This is NZ Opera’s first foray into the world of Gilbert & Sullivan and they have done a great job of bringing together the various elements that make this kind of comedy work. The text has been judiciously updated for a modern ear, often bawdy in places, yet retaining the patter song elements that are an integral part of Gilbert’s libretto. Inevitably Ko-Ko’s list of things that “would not be missed” has a decidedly Kiwi flavour, rather more parochial than political, though inevitably Donald Trump rates a mention.

Stuart Maunder’s effervescent production is a treasure trove of visual and aural gags. Simone Romaniuk’s sets place us firmly in Japan with sliding screens, cherry blossoms and just a hint of neon to suggest a modern-day setting. And, yes, Hello Kitty is there too. The various locations of the plot are effectively created by the moveable elements on stage with the production kicking along at a satisfying pace. The colourful and detailed costumes, also by Romaniuk, are again essentially Japanese but with a modern twist. The giggling gaggle of girls could be straight from the Harajuku district of Tokyo where extreme teenage fashion styles prevail. It would be somewhat hard to avoid kitsch in a production of The Mikado, but the careful juxtaposition of traditional with modern in the sets, costumes and text ensure that the saccharine levels are kept at a reasonable level while maximizing the comedy.

The excellent cast is led by Byron Coll in the role of the Lord High Executioner, Ko-Ko. The decision to cast a character actor here has paid huge dividends, with Coll bringing experienced acting skills to his interpretation of the loveable rogue who is desperately trying to manipulate events to his advantage. His light baritone voice is more than serviceable on the musical side and overall his cheeky characterisation is a clear winner with the audience.

His nemesis, Katisha is also in the hands of an experienced actress, Helen Medlyn. Displaying an enviable range of pouts, squirms and other facial contortions, Medlyn treats us to a masterclass in comic acting. If her voice these days is a little undernourished, she nevertheless still commands the stage in all the right ways. Her confrontation with Ko-Ko as he offers his hand in marriage is a highlight of the evening.

The young lovers Nanki-Poo and Yum-Yum are played with youthful exuberance by Jonathan Abernethy and Amelia Berry. Both offer musical excellence while imbuing their characters with just the right levels of sweetness.

The smaller parts are all well taken. Andrew Collis’s Pooh Bah is a particular standout, solid in voice and suavely interpreted, while Robert Tucker (Pish-Tish), James Clayton (The Mikado), Anna Dowsley (Pitti-Sing) and Barbara Graham (Peep-Bo) all contribute strongly to the overall success of the evening.

And last, but not least, the male and female ensembles. While the male ensemble is solid and dependable in their bowler hats, their female counterparts giggle and screech their way through the performance in true Japanese teenage style. It is all hugely entertaining with both ensembles being integral to the success of this production.

Despite the lack of a pit in the ASB Waterfront Theatre in Auckland, Isaac Hayward leads the reduced forces of the Auckland Philharmonia in a stylish, well balanced rendition of the score, never overwhelming the singers while providing lively accompaniment to the on-stage shenanigans.

You may have never seen The Mikado before, but it is almost certain that you will be familiar with many of the songs – such is its abiding popularity. On a somewhat drizzly night in Auckland it worked its magic yet again, sending the audience home with wide smiles on their faces.