Casting announced for The Mikado at the Kings Head Theatre

06 Mar
Posted in: Theatre News
Author: Staff
Full casting for the Kings Head Theatre

Casting has been announced for the Charles Court Opera's production of THE MIKADO which opens this month at the Kings Head Theatre. Ten fabulous StageFaves will charm us in this Gilbert & Sullivan classic...

Directed by CCO Artistic Director John Savournin (who recently directed Gilbert and Sullivan’s Trial By Jury for Opera North) THE MIKADO will run in Islington from Thursday 22 March to Saturday 21 April.

Press night is Tuesday 27 March at 7pm.

The cast features such CCO favourites as Philip Lee and Alys Roberts (last seen in King Tut - A Pyramid Panto) and Matthew Palmer (last seen in the Trafalgar Studios transfer of the King’s Head Theatre’s La Bohéme) alongside some brand new faces for what promises to be a hilarious, inventive and downright entertaining show, suitable for operetta lovers and newcomers alike.

Behind the closed doors at the British Consulate in the town of Titipu, Japan, the scheming, slippery Lord High Executioner is about to hatch one plot too far, with far-reaching and hilarious consequences for everyone involved, especially when the Mikado himself arrives… With such timeless comic songs as A wandering minstrel, I, I’ve got a little list and Three little maids from school and a brand new setting, this is The Mikado as you’ve never seen it before

Full cast:

Matthew Palmer (The Mikado/Pish-Tush)
Jack Roberts (Nanki-Poo)
Philip Lee (Ko-Ko, except 6 - 8 April)
Stephen Godward (Pooh-Bah, 31 March, 1 - 7 April /13 April /15 - 21 April)
Matthew Kellett (Pooh-Bah ( 22 - 30 March/8 - 12 April, 14 April)
Alys Roberts (Yum-Yum)
Jessica Temple (Pitti-Sing)
Corinne Cowling (Peep-Bo)
Matthew Siveter (Katisha)
John Savournin (Ko-Ko, three performances only, 6 - 8 April).

Creative team:
Director John Savournin
Musical Director David Eaton
Set Designer Rachel Szmukler
Lighting Designer Nicholas Holdridge

John Savournin said: “I’m very excited to be rediscovering this opera and looking at the setting with 21st century glasses on; to consider its place in today’s social climate, and to embrace afresh its humour, pathos, and the downright genius craftsmanship of one of Britain’s most prolific writing partnerships.”