View source for The Mikado

{{Short description|1885 comic opera by Gilbert & Sullivan}}
{{Other uses|Mikado (disambiguation){{!}}Mikado}}
{{italic title}}
{{Use dmy dates|date=March 2019}}
{{Use British English|date=January 2013}}
[[File:Doyly Carte Opera Company poster, John Hassall.jpg|thumb|Theatre poster for ''The Mikado'']]
'''''The Mikado; or, The Town of Titipu''''' is a [[comic opera]] in two acts, with music by [[Arthur Sullivan]] and [[libretto]] by [[W. S. Gilbert]], their ninth of fourteen [[Gilbert and Sullivan|operatic collaborations]]. It opened on 14 March 1885, in [[London]], where it ran at the [[Savoy Theatre]] for 672 performances, the second-longest run for any work of musical theatre and one of the longest runs of any theatre piece up to that time.<ref>Gillan, Don. [http://www.dgillan.screaming.net/stage/th-longr.html Longest runs in the theatre up to 1920.] {{Webarchive|url=https://web.archive.org/web/20150923214113/http://www.dgillan.screaming.net/stage/th-longr.html |date=23 September 2015 }}</ref><ref group="n">The longest-running piece of musical theatre was the [[operetta]] ''[[Les Cloches de Corneville]]'', which held the title until ''[[Dorothy (opera)|Dorothy]]'' opened in 1886, which pushed ''The Mikado'' down to third place.</ref> By the end of 1885, it was estimated that, in Europe and America, at least 150 companies were producing the opera.<ref name=Mencken>[[H. L. Mencken|Mencken, H. L.]] [https://www.gsarchive.net/mikado/html/mikado_by_mencken.html Article on ''The Mikado''] {{Webarchive|url=https://web.archive.org/web/20080924045602/https://www.gsarchive.net/mikado/html/mikado_by_mencken.html |date=24 September 2008 }}, ''Baltimore Evening Sun'', 29 November 1910</ref>

''The Mikado'' is the most internationally successful [[Savoy opera]]<ref>Jaffé, Daniel. [https://www.classical-music.com/features/works/best-gilbert-and-sullivan-operettas "The top 10 Gilbert and Sullivan operettas, ranked and rated"], ''[[BBC Music Magazine]]'', 9 March 2022</ref> and has been especially popular with amateur and school productions. The work has been translated into numerous languages and is one of the most frequently played musical theatre pieces in history. ''The Mikado'' is a [[satire]] of late 19th century British institutions, society and politics. By setting the opera in a fantasy Japan, an exotic locale far away from contemporary Britain, Gilbert was able to satirise British politics more freely and soften the impact of his criticisms of British social institutions, in a similar way that he used other "foreign" settings in ''[[Princess Ida]]'', ''[[The Gondoliers]]'', ''[[Utopia, Limited]]'' and ''[[The Grand Duke]]''. Nevertheless, some 21st-century productions of the opera in the United States have drawn criticism for promoting [[Stereotypes of East Asians in the United States|stereotypes of East Asians]].

==Origins==
[[File:The Mikado Chappell Vocal Score cover (c.1895).jpg|upright|Cover of vocal score, c. 1895|thumb|left]]
[[Gilbert and Sullivan]]'s opera immediately preceding ''The Mikado'' was ''[[Princess Ida]]'' (1884), which ran for nine months, a short duration by [[Savoy opera]] standards.<ref>Traubner, p. 162</ref> When ticket sales for ''Princess Ida'' showed early signs of flagging, the impresario [[Richard D'Oyly Carte]] realised that, for the first time since 1877, no new Gilbert and Sullivan work would be ready when the old one closed. On 22 March 1884, Carte gave Gilbert and Sullivan contractual notice that a new opera would be required within six months.<ref>Jacobs, p. 187</ref> Sullivan's close friend, the conductor [[Frederic Clay]], had suffered a serious stroke in December 1883 that effectively ended his career.  Reflecting on this, on his own precarious health, and on his desire to devote himself to more serious music, Sullivan replied to Carte that "it is impossible for me to do another piece of the character of those already written by Gilbert and myself".<ref>Crowther, Andrew. [https://www.gsarchive.net/articles/html/quarrel.html "The Carpet Quarrel Explained"], The Gilbert and Sullivan Archive, 28 June 1997, accessed 6 November 2007</ref><ref>Ainger, p. 226</ref> Gilbert, who had already started work on a new libretto in which people fall in love against their wills after taking a magic lozenge, was surprised to hear of Sullivan's hesitation. He wrote to Sullivan asking him to reconsider, but the composer replied on 2 April 1884 that he had "come to the end of my tether" with the operas:
{{blockquote|I have been continually keeping down the music in order that not one [syllable] should be lost. ... I should like to set a story of human interest & probability where the humorous words would come in a humorous (not serious) situation, & where, if the situation were a tender or dramatic one the words would be of similar character.<ref>Ainger, p. 230</ref>}}

Gilbert wrote that Sullivan's letter caused him "considerable pain". Sullivan responded that he could not set the "lozenge plot", stating that it was too similar to the plot of their 1877 opera ''[[The Sorcerer]]''.<ref>Ainger, p. 231</ref> As April 1884 wore on, Gilbert tried to modify his plot, but he could not satisfy Sullivan. The parties were at a stalemate, and Gilbert wrote, "And so ends a musical & literary association of seven years' standing – an association of exceptional reputation – an association unequaled in its monetary results, and hitherto undisturbed by a single jarring or discordant element."<ref>Ainger, p. 232</ref> But by 8 May 1884, Gilbert was ready to back down, writing: "am I to understand that if I construct another plot in which no supernatural element occurs, you will undertake to set it? ... a consistent plot, free from anachronisms, constructed in perfect good faith & to the best of my ability."<ref name=Ainger233>Ainger, p. 233</ref> The stalemate was broken, and on 20 May, Gilbert sent Sullivan a sketch of the plot to ''The Mikado''.<ref name=Ainger233/> It would take another ten months for ''The Mikado'' to reach the stage. A revised version of ''The Sorcerer'' coupled with their one-act piece ''[[Trial by Jury]]'' (1875) played at the Savoy while Carte and their audiences awaited their next work. Gilbert eventually found a place for his "lozenge plot" in ''[[The Mountebanks (opera)|The Mountebanks]]'', written with [[Alfred Cellier]] in 1892.

[[File:Japanese3vil.jpg|right|frame|Photo at the [[Japanese Village, Knightsbridge|Japanese village]] taken by W. S. Gilbert<ref name =exhibition>[https://www.english-heritage.org.uk/server/show/conWebDoc.1613 "The Japanese exhibition, 1885–87"], English Heritage, accessed 29 January 2013</ref>]]
In 1914, [[François Cellier|Cellier]] and Bridgeman first recorded the familiar story of how Gilbert found his inspiration:
{{blockquote|Gilbert, having determined to leave his own country alone for a while, sought elsewhere for a subject suitable to his peculiar humour. A trifling accident inspired him with an idea. One day an old Japanese sword that, for years, had been hanging on the wall of his study, fell from its place. This incident directed his attention to Japan. Just at that time a company of Japanese had arrived in England and set up a little village of their own in [[Knightsbridge]].<ref>Cellier and Bridgeman, p. 186</ref>}}

The story is an appealing one, but it is largely fictional.<ref name="Jones 1985, p. 22">Jones (1985), p. 22</ref> Gilbert was interviewed twice about his inspiration for ''The Mikado''. In both interviews the sword was mentioned, and in one of them he said it was the inspiration for the opera, though he never said the sword had fallen. What puts the entire story in doubt is Cellier and Bridgeman's error concerning the [[Japanese Village, Knightsbridge|Japanese Village]] exhibition in [[Knightsbridge]]:<ref name=exhibition/> it did not open until 10 January 1885, eight months after Gilbert sent the outline of the plot to Sullivan and almost two months after Gilbert had completed Act I.<ref name="Jones 1985, p. 22" /><ref>Jones (2007), p. 687</ref> Gilbert scholar Brian Jones, in his article "The Sword that Never Fell", notes that "the further removed in time the writer is from the incident, the more graphically it is recalled."<ref>Jones (1985), p. 25</ref> [[Leslie Baily]], for instance, told it this way in 1952:

{{blockquote |A day or so later Gilbert was striding up and down his library in the new house at Harrington Gardens, fuming at the impasse, when a huge Japanese sword decorating the wall fell with a clatter to the floor. Gilbert picked it up. His perambulations stopped. 'It suggested the broad idea,' as he said later. His journalistic mind, always quick to seize on topicalities, turned to a Japanese Exhibition which had recently been opened in the neighbourhood. Gilbert had seen the little Japanese men and women from the Exhibition shuffling in their exotic robes through the streets of Knightsbridge. Now he sat at his writing desk and picked up the quill pen. He began making notes in his plot-book.<ref>Baily, pp. 235–36</ref>}}

The story was dramatised in more or less this form in the 1999 film ''[[Topsy-Turvy]]''.<ref>{{cite magazine| title= Topsy-Turvy | url= http://www.time.com/time/printout/0,8816,992991,00.html | archive-url= https://archive.today/20130205081000/http://www.time.com/time/printout/0,8816,992991,00.html | url-status= dead | archive-date= 5 February 2013 | date= 27 December 1999 | author-link= Richard Schickel | first=Richard |last= Schickel| magazine= Time | access-date= 16 July 2011}}</ref> But although the 1885–87 Japanese exhibition in Knightsbridge had not opened when Gilbert conceived of ''The Mikado'', European trade with Japan had increased in recent decades, and an English [[Japonism|craze for all things Japanese]] had built through the 1860s and 1870s. This made the time ripe for an opera set in Japan.<ref name=Jones688>Jones (2007), pp. 688–93</ref><ref>Daniels, Vincent. "Some Thoughts on the Japanese Village at Knightsbridge", ''Sir Arthur Sullivan Society Magazine'', No. 114, Spring 2024, pp. 21–24</ref><ref group="n">Daniels also suggests that Gilbert, Sullivan and/or Carte may have been aware, for months in advance, that the exhibition was scheduled to open. See Daniels, pp. 21–22</ref> Gilbert told a journalist, "I cannot give you a good reason for our ... piece being laid in Japan. It ... afforded scope for picturesque treatment, scenery and costume, and I think that the idea of a chief magistrate, who is ... judge and actual executioner in one, and yet would not hurt a worm, may perhaps please the public."<ref>{{usurped|1=[https://web.archive.org/web/20061029085114/http://www.lyricoperasandiego.com/Education/MikadoGenesis.htm Quoted at Lyricoperasandiego.com]}}</ref><ref name=Tribune>Gilbert, W. S. "The Evolution of ''The Mikado''", ''New York Daily Tribune'', 9 August 1885</ref>

In an 1885 interview with the ''[[New-York Tribune|New-York Daily Tribune]]'', Gilbert said that the short stature of [[Leonora Braham]], [[Jessie Bond]] and [[Sybil Grey]] "suggested the advisability of grouping them as three Japanese school-girls", the opera's "three little maids". He also recounted that a young Japanese lady, a tea server at the Japanese Village, came to rehearsals to coach the three women in Japanese dance.<ref name=Tribune/> On 12 February 1885, one month before ''The Mikado'' opened, ''[[The Illustrated London News]]'' wrote about the opening of the Japanese Village noting, among other things, that "the graceful, fantastic dancing featured ... three little maids!"<ref>''[[The Illustrated London News]]'', 12 February 1885, p. 143</ref> In the ''Tribune'' interview, Gilbert also related that he and Sullivan had decided to cut the only solo sung by the opera's title character (who appears only in Act II, played by Savoy veteran [[Richard Temple (bass-baritone)|Richard Temple]]), but that members of the company and others who had witnessed the dress rehearsal "came to us in a body and begged us to restore the excised 'number'".<ref name=Tribune/>

==Roles==
[[File:LelyasNP.jpg|right|thumb|[[Durward Lely]] as Nanki-Poo]]
* The [[Emperor of Japan|Mikado]] of Japan ([[bass (vocal range)|bass]] or [[bass-baritone]])
* Nanki-Poo, ''His Son, disguised as a wandering minstrel and in love with Yum-Yum'' ([[tenor]])
* Ko-Ko, ''The Lord High Executioner of Titipu'' (comic [[baritone]])
* Pooh-Bah, ''Lord High Everything Else'' ([[baritone]])
* Pish-Tush, ''A Noble Lord'' ([[baritone]])<ref group="n" name="Pish/Go">The actor who originally played Pish-Tush proved unable satisfactorily to sing the low notes in the Act Two quartet, "Brightly dawns our wedding day". The Pish-Tush line in this quartet lies lower than the rest of the role and ends on a bottom F. Therefore, an extra bass character, called Go-To, was introduced for this song and the dialogue scene leading into it. The [[D'Oyly Carte Opera Company]] continued generally to bifurcate the role, but vocal scores generally do not mention it. Other companies, however, have generally eliminated the role of Go-To and restored the material to Pish-Tush, when the role is played by someone with a sufficient vocal range.</ref>
* Go-To, ''A Noble Lord'' ([[bass-baritone]])<ref name="Pish/Go" group="n"/>
* Yum-Yum, ''A Ward of Ko-Ko, also engaged to Ko-Ko'' ([[soprano]])
* Pitti-Sing, ''A Ward of Ko-Ko'' ([[mezzo-soprano]])
* Peep-Bo, ''A Ward of Ko-Ko'' (soprano or mezzo-soprano)
* Katisha, ''An Elderly lady, in love with Nanki-Poo'' ([[contralto]])
* Chorus of School-Girls, Nobles, Guards and [[Coolie]]s

==Synopsis==

===Act I===
;Courtyard of Ko-Ko's Official Residence
[[File:KoKo 1926.jpg|thumb|left|150px|Ko-Ko – 1926 costume design by [[Charles Ricketts]]]]
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 (law)|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 execute himself, no executions could take place. But all the town officials, except the haughty nobleman Pooh-Bah, proved too proud to serve under an ex-tailor and resigned. Pooh-Bah now holds all their posts and collects all their salaries. He informs Nanki-Poo that Yum-Yum is scheduled to marry Ko-Ko on the very day that he has returned ("Young man, despair").

{{anchor|behold}}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". Yum-Yum appears with Ko-Ko's other two wards, Peep-Bo and Pitti-Sing ("Comes a train of little ladies", "[[Three Little Maids from School Are We|Three little maids from school]]"). Pooh-Bah does not think that the girls have shown him enough respect ("So please you, sir"). Nanki-Poo arrives and informs Ko-Ko of his love for Yum-Yum. 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"). But Ko-Ko argues that it would be "extremely difficult, not to say dangerous", for someone to attempt to behead himself, and that suicide is a capital offence. Fortuitously, Ko-Ko discovers that Nanki-Poo, in despair over losing Yum-Yum, is preparing to commit suicide. 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. But the townspeople are sympathetic to the young couple, and Katisha's attempts to reveal Nanki-Poo's secret are drowned out by their shouting. Outwitted but not defeated, Katisha makes clear that she intends to be avenged.

===Act II===
; Ko-Ko's Garden
Yum-Yum's friends are preparing her for her wedding ("Braid the raven hair"). She muses on her own beauty ("The sun whose rays"), but Pitti-Sing and Peep-Bo remind her of the limited duration of her approaching union with Nanki-Poo. 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 that the soft-hearted Ko-Ko has never executed anyone and cannot execute Nanki-Poo. Instead, he 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.

[[File:BabMikadoTeeth.jpg|left|thumb|220px|"''His teeth, I've enacted,'' <br />''Shall all be extracted''
<br />''By terrified amateurs.''"
<br />(Cartoon by W. S. Gilbert)]]
The Mikado and Katisha arrive in Titipu accompanied by a large procession ("Mi-ya Sa-Ma", "From Every Kind of Man"). 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. But 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 ... or melted lead". 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"). Though Katisha is "something appalling", Ko-Ko has no choice: it is marriage to Katisha or painful death for himself, Pitti-Sing and Pooh-Bah.

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 person to be executed, legally speaking, "is as good as dead – practically, he is dead – and if he ''is'' dead, why not say so?"<ref group="n">This was a topical British legal joke: In the 1882 court case of [[Walsh v Lonsdale]], 21 ChD 9, it was held that because [[Equity (law)|equity]] regards as done those things that ought to have been done, an agreement for a lease is as good as a lease. See [[David Neuberger, Baron Neuberger of Abbotsbury|Neuberger, David]]. [http://www.ucl.ac.uk/laws/alumni/presidents/docs/neuberger_11.pdf "Swindlers (including the Master of the Rolls?) Not Wanted: Bentham and Justice Reform"] {{Webarchive|url=https://web.archive.org/web/20130215054912/http://www.ucl.ac.uk/laws/alumni/presidents/docs/neuberger_11.pdf |date=15 February 2013 }}, UCL Bentham Association, 2 March 2011</ref> The Mikado deems that "Nothing could possibly be more satisfactory", and everyone in Titipu celebrates ("For he's gone and married Yum-Yum").

==Musical numbers==
[[File:The Story of the Mikado Page 1.jpg|Nanki-Poo as a wand'ring minstrel, from ''The Story of the Mikado''. Art by Alice B. Woodward.|thumb]]
* Overture (a [[Potpourri (music)|potpourri]], which includes "Mi-ya Sa-ma", "The Sun Whose Rays Are All Ablaze", "There is Beauty in the Bellow of the Blast", "Braid the Raven Hair" and "With Aspect Stern and Gloomy Stride"). This was arranged, under Sullivan's direction, by [[Hamilton Clarke]].<ref>Hughes, pp. 131–32</ref>

===Act I===
* 1. "If you want to know who we are" (Chorus of Men)
* 2. "A Wand'ring Minstrel I" (Nanki-Poo and Men)
* 3. "Our Great Mikado, virtuous man" (Pish-Tush and Men)
* 4. "Young man, despair" (Pooh-Bah, Nanki-Poo and Pish-Tush)
* 4a. [[Recitative|Recit.]], "And have I journey'd for a month" (Pooh-Bah, Nanki-Poo)
* 5. "Behold the Lord High Executioner" (Ko-Ko and Men)
* 5a. "As some day it may happen" (Ko-Ko and Men)
* 6. "Comes a train of little ladies" (Girls)
* 7. "[[Three Little Maids from School Are We|Three little maids from school are we]]" (Yum-Yum, Peep-Bo, Pitti-Sing, and Girls)
* 8. "So please you, Sir, we much regret" (Yum-Yum, Peep-Bo, Pitti-Sing, Pooh-Bah, and Girls)<ref group="n">The original version of this number included Pish-Tush. His part in it was first reduced, and then eliminated. However, some vocal scores still include Pish-Tush in this number in his reduced role.</ref>
* 9. "Were you not to Ko-Ko plighted" (Yum-Yum and Nanki-Poo)
* 10. "I am so proud" (Pooh-Bah, Ko-Ko and Pish-Tush)
* 11.  Finale Act I (Ensemble)
** "With aspect stern and gloomy stride"
** "The threatened cloud has passed away"
** "Your revels cease!" ... "Oh fool, that fleest my hallowed joys!"
** "For he's going to marry Yum-Yum"
** "The hour of gladness" ... "O ni! bikkuri shakkuri to!"
** "Ye torrents roar!"

===Act II===
[[File:Mikado 02 - Weir Collection.jpg|thumb|right|Theatre poster, Edinburgh, 1885]]
* 12. "Braid the raven hair" (Pitti-Sing and Girls)
* 13. "The sun whose rays are all ablaze" (Yum-Yum) (Originally in Act I, moved to Act II shortly after the opening night)
* 14. [[Madrigal (music)|Madrigal]], "Brightly dawns our wedding day" (Yum-Yum, Pitti-Sing, Nanki-Poo and Pish-Tush)
* 15. "Here's a how-de-do" (Yum-Yum, Nanki-Poo and Ko-Ko)
* 16. "Mi-ya Sa-ma"<ref name=Miya/> "From every kind of man obedience I expect" (Mikado, Katisha, Chorus)
* 17. "A more humane Mikado" (Mikado, Chorus) (This song was nearly cut, but was restored shortly before the first night.<ref name=Tribune/>)
* 18. "The criminal cried as he dropped him down" (Ko-Ko, Pitti-Sing, Pooh-Bah, Chorus)
* 19. "See how the Fates their gifts allot" (Mikado, Pitti-Sing, Pooh-Bah, Ko-Ko and Katisha)
* 20. "The flowers that bloom in the spring" (Nanki-Poo, Ko-Ko, Yum-Yum, Pitti-Sing, and Pooh-Bah)
* 21. Recit. and song, "Alone, and yet alive" (Katisha)
* 22. "On a tree by a river" ("Willow, tit-willow") (Ko-Ko)
* 23. "There is beauty in the bellow of the blast" (Katisha and Ko-Ko)
* 24. "Finale Act II" (Ensemble)
** "For he's gone and married Yum-Yum"
** "The threatened cloud has passed away"

==Productions==
[[File:PolitMikado.jpg|left|thumb|upright|Political parody celebrating the bicentennial of [[Albany, New York]]]]
''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. On 4 September 1891, D'Oyly Carte's touring "C" company gave a [[Royal Command Performance]] of ''The Mikado'' at [[Balmoral Castle]] before [[Queen Victoria]] and the Royal Family.<ref name=stage>Gillan, Don. [http://www.stagebeauty.net/th-frames.html?http&&&www.stagebeauty.net/th-commnd.html A History of the Royal Command Performance], StageBeauty.net, accessed 16 June 2009</ref> The original set design was by [[Hawes Craven]], with men's costumes by [[William Charles John Pitcher|C. Wilhelm]].<ref name=R&WAppendixVIII>Rollins and Witts, Appendix, p. VIII</ref><ref>Cellier and Bridgeman, p. 192</ref> The first provincial production of ''The Mikado'' opened on 27 July 1885 in [[Brighton]], with several members of that company leaving in August to present the first authorised American production in New York. From then on, ''The Mikado'' was a constant presence on tour. From 1885 until the company's closure in 1982, there was no year in which a D'Oyly Carte company (or several of them) was not presenting it.<ref>Rollins and Witts, ''passim''</ref>

''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 1906–07, [[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 1908–09. New costume designs were created by [[Charles Ricketts]] for the 1926 season and were used until 1982.<ref>[https://www.gsarchive.net/carte/1926/index.html Photos of, and information about, the 1926 ''Mikado'' costume designs.] {{Webarchive|url=https://web.archive.org/web/20080922171628/https://www.gsarchive.net/carte/1926/index.html |date=22 September 2008 }}</ref> [[Peter Goffin]] designed new sets in 1952.<ref name=R&WAppendixVIII/>

[[File:Geraldine Ulmar in Gilbert and Sullivan's The Mikado - photograph only.jpg|right|thumb|upright|[[Geraldine Ulmar]] as Yum-Yum in the New York cast, captioned "We're very wide awake, the moon and I."]]
In America, as had happened with ''[[H.M.S. Pinafore]]'', the first productions were unauthorised, but once D'Oyly Carte's American production opened in August 1885, it was a success, earning record profits, and Carte formed several companies to tour the show in North America.<ref>Prestige, Colin. "D'Oyly Carte and the Pirates", a {{usurped|1=[https://archive.today/20120715191328/http://kuscholarworks.ku.edu/dspace/handle/1808/5875 paper presented at the International Conference of G&S]}} held at the [[University of Kansas]], May 1970</ref> [[Victorian burlesque|Burlesque]] and parody productions, including political parodies, were mounted.<ref>[https://www.library.rochester.edu/index.cfm?PAGE=4146 Information about American productions] {{webarchive|url=https://web.archive.org/web/20081210014259/http://www.library.rochester.edu/index.cfm?page=4146 |date=10 December 2008 }}</ref> More than 150 unauthorised versions cropped up, and, as had been the case with ''Pinafore'', Carte, Gilbert and Sullivan could do nothing to prevent them or to capture any license fees, since there was no international copyright treaty at the time.<ref name=Mencken/><ref name=Pasa>Tiarks, Mark. [https://www.santafenewmexican.com/pasatiempo/music/mikado-madness-the-first-franchise-in-showbiz/article_55ff6b28-f698-11ea-9b01-973c32e05ced.html "''Mikado'' madness: The first franchise in showbiz"], ''Pasatiempo'', 16 October 2020</ref> Gilbert, Sullivan and Carte tried various techniques for gaining an American copyright that would prevent unauthorised productions.<ref>In the case of ''Princess Ida'' and ''The Mikado'', they hired an American, George Lowell Tracy, to create the piano arrangement of each score, hoping that he would obtain rights that he could assign to them. See, Murrell, Pam. [https://blogs.loc.gov/music/2020/08/gilbert-sullivans-american-ally "Gilbert & Sullivan's American Ally"], In the Muse, US Library of Congress, 5 August 2020.</ref> The U.S. courts held, however, that the act of publication made the opera freely available for production by anyone.<ref>Jacobs, p. 214 and Ainger, pp. 247, 248 and 251</ref> In Australia, ''The Mikado''<nowiki>'</nowiki>s first authorised performance was on 14 November 1885 at the Theatre Royal, [[Sydney]], produced by [[J. C. Williamson]]. During 1886, Carte was touring five Mikado companies in North America.<ref>Rollins and Witts, p. 59</ref>

Carte toured the opera in 1886 and again in 1887 in Germany and elsewhere in Europe.<ref>Rollins and Witts, pp. 59–64</ref> In September 1886 Vienna's leading critic, [[Eduard Hanslick]], wrote that the opera's "unparalleled success" was attributable not only to the libretto and the music, but also to "the wholly original stage performance, unique of its kind, by Mr D'Oyly Carte's artists ... riveting the eye and ear with its exotic allurement."<ref>Jacobs, Arthur. [http://www.oxforddnb.com/view/article/32311, "Carte, Richard D'Oyly (1844–1901)"], ''Oxford Dictionary of National Biography'', Oxford University Press, September 2004, accessed 12 September 2008</ref> ''The Mikado'' was performed more than 200 times in Berlin alone by 1891 and 100 times in Vienna, of just one of the translations available, by 1894; Sullivan went to Berlin in 1900 to conduct the opera at the [[Berlin State Opera|Royal Opera]] as a command performance for [[Kaiser Wilhelm II]].<ref>Turnbull, Stephen. "Arthur Sullivan in Deutschland", ''Sir Arthur Sullivan Society Magazine'', No. 114, Spring 2024, pp. 27–35</ref> Productions continued in German-speaking countries, both authorised and unauthorised by D'Oyly Carte, and productions were also seen in France, Holland, Hungary, Spain, Belgium, Scandinavia, Russia and elsewhere. Thousands of amateur productions have been mounted throughout the English-speaking world and beyond since the 1880s.<ref>Joseph (1994), pp. 81 and 163</ref><ref>Bradley (2005), p. 25</ref><ref>Jellinek, Hedy and George. "The One World of Gilbert and Sullivan", ''Saturday Review'', 26 October 1968, pp. 69–72 and 94</ref> One production during World War I was given in the [[Ruhleben internment camp]] in Germany.<ref>The conductor [[Ernest MacMillan]], along with other musician internees, recreated the score from memory with the aid of a libretto. See MacMillan, [https://archive.org/details/macmillanonmusic0000macm/page/24 pp. 25–27]</ref>

After the Gilbert copyrights expired in 1962, the [[Sadler's Wells Theatre|Sadler's Wells Opera]] mounted the first non-D'Oyly Carte professional production in England, with [[Clive Revill]] as Ko-Ko. Among the many professional revivals since then was an [[English National Opera]] production in 1986, with [[Eric Idle]] as Ko-Ko and [[Lesley Garrett]] as Yum-Yum, directed by [[Jonathan Miller]]. This production, which has been revived numerous times over four decades, is set in a swanky 1920s English seaside hotel, with sets and costumes in black and white<ref>Hall, George. [https://web.archive.org/web/20151124150631/https://www.thestage.co.uk/reviews/2015/the-mikado-review-at-london-coliseum-still-delivers-the-goods "''The Mikado'' review at London Coliseum – 'still delivers the goods'"], ''The Stage'', 23 November 2015</ref><ref name=Turn118>Turnbull, Stephen. "Triplets! On His Salary?!", ''Sir Arthur Sullivan Society Magazine'', No. 118, Summer 2025, p. 23</ref> "as an homage to the [[Marx Brothers]], [[Noël Coward]], and [[Busby Berkeley]]".<ref name=Pasa/> Canada's [[Stratford Festival]] has produced ''The Mikado'' several times, first in 1963 and again in 1982 (revived in 1983 and 1984) and in 1993.<ref>[http://www.stratfordfestival.ca/about/history.aspx?id=1178 "Production History"], Stratford Festival website, accessed 15 February 2014</ref>

The following table shows the history of the D'Oyly Carte productions in Gilbert's lifetime:

{|class="wikitable"
!Theatre!!Opening Date!!Closing Date!!Perfs.!!Details
|-
|nowrap|Savoy Theatre||14 March 1885||19 January 1887||align=center|672||First London run.
|-
|[[Fifth Avenue Theatre|Fifth Avenue]] and [[Manhattan Theatre|Standard Theatres]], New York||19 August 1885||17 April 1886||align=center|250||Authorised American production. Production was given at the Fifth Avenue Theatre, except for a one-month transfer to the Standard Theatre in February 1886.
|-
|Fifth Avenue Theatre, New York||1 November 1886||20 November 1886||align=center|3 wks||Production with some D'Oyly Carte personnel under the management of John Stetson.
|-
|Savoy Theatre||7 June 1888||nowrap|29 September 1888||align=center|116||First London revival.
|-
|Savoy Theatre||nowrap|6 November 1895||4 March 1896||align=center|127||Second London revival.
|-
|Savoy Theatre||27 May 1896||4 July 1896||align=center|6||Performances at matinees during the original run of ''[[The Grand Duke]]''.
|-
|Savoy Theatre||11 July 1896||17 February 1897||align=center|226||Continuation of revival after early closure of ''The Grand Duke''.
|-
|Savoy Theatre||28 April 1908||27 March 1909||align=center|142||Second Savoy repertory season; played with five other operas. Closing date shown is of the entire season.
|}

==Analysis and reception==

===Themes of death===
[[File:The Story of the Mikado - Frontispiece.png|thumb|Ko-Ko reveals that when a man is beheaded, his wife is buried alive: from Gilbert's children's book ''[[The Story of the Mikado]]''. Art by [[Alice B. Woodward]].]]
''The Mikado'' is a comedy, yet it deals with themes of death and cruelty. This juxtaposition works because Gilbert treats these themes as trivial, even lighthearted issues. For instance, in the song "Our great Mikado, virtuous man", Pish-Tush sings: "The youth who winked a roving eye / Or breathed a non-connubial sigh / Was thereupon condemned to die&nbsp;– / He usually objected." The term for this rhetorical technique is [[meiosis (figure of speech)|meiosis]], a drastic understatement of the situation. 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.<ref>[https://www.gsarchive.net/mikado/webopera/mk207d.html ''The Mikado''], Web Opera, Gilbert and Sullivan Archive, accessed 20 September 2022</ref>

Death is treated as a businesslike event in Gilbert's topsy-turvy world. Pooh-Bah calls Ko-Ko, the Lord High Executioner, an "industrious mechanic". 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." Of course, joking about death does not originate with ''The Mikado''. The plot conceit that Nanki-Poo may marry Yum-Yum if he agrees to die at the end of the month was used in ''[[A Wife for a Month]]'', a 17th-century play by [[John Fletcher (playwright)|John Fletcher]]. 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...  [Gilbert] has unquestionably succeeded in imbuing society with his own quaint, scornful, inverted philosophy; and has thereby established a solid claim to rank amongst the foremost of those latter-day Englishmen who have exercised a distinct psychical influence upon their contemporaries."<ref>Beatty-Kingston, William. ''The Theatre'', 1 April 1885, ''quoted'' in Fitzgerald, pp. 165–66</ref>

===Japanese setting===
[[File:Gg ko-ko.jpg|right|thumb|[[George Grossmith|Grossmith]] "made up" as Ko-Ko]]
The opera is named after the [[Emperor of Japan]] using the term ''mikado'' (御門 or 帝 or みかど), literally meaning "the honourable gate" of the imperial palace, referring metaphorically to its occupant and to the palace itself. The term was commonly used by the English in the 19th century but became obsolete.<ref>Kan'ichi Asakawa. [https://archive.org/details/bub_gb_K1MuAAAAYAAJ/page/n36 <!-- pg=25 --> "Institutions before the Reform"], ''The Early Institutional Life of Japan: A Study in the Reform of 645 A.D.'', Tokyo: Shueisha (1903), p. 25. Quote: "We purposely avoid, in spite of its wide usage in foreign literature, the misleading term ''Mikado''. ... It originally meant not only the Sovereign, but also his house, the court, and even the State, and its use in historical writings causes many difficulties. ...  The native Japanese employ the term neither in speech nor in writing."</ref> To the extent that the opera portrays Japanese culture, style and government, it is a fictional version of Japan used to provide a picturesque setting and to capitalise on [[Japonism]] and the British fascination with Japan and the [[Far East]] in the 1880s.<ref name=Jones688 /> Gilbert wrote, "The Mikado of the opera was an imaginary monarch of a remote period and cannot by any exercise of ingenuity be taken to be a slap on an existing institution."<ref>Dark and Grey, p. 101</ref> ''The Mikado'' "was never a story about Japan but about the failings of the British government".<ref>Mairs, Dave. [http://www.yourcanterbury.co.uk/leisure/gilbert_sullivan_the_greatest_show_takes_to_the_road_1_3624361 "Gilbert & Sullivan... the greatest show takes to the road"] {{webarchive|url=https://web.archive.org/web/20140726171322/http://www.yourcanterbury.co.uk/leisure/gilbert_sullivan_the_greatest_show_takes_to_the_road_1_3624361 |date=26 July 2014 }}, ''Your Canterbury'', 2 June 2014</ref>

By setting the opera in a foreign land, Gilbert felt able to more sharply criticise British society and institutions.<ref name = Steinberg>Steinberg, Neil.  [http://www.suntimes.com/news/steinberg/2706603-452/mikado-production-opera-chicago-lyric.html "Updated ''Mikado'' promises to be as rousing as ever"].  ''Chicago Sun-Times'', 6 December 2010.</ref> [[G. K. 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."<ref>{{usurped|1=[https://web.archive.org/web/20061029085114/http://www.lyricoperasandiego.com/Education/MikadoGenesis.htm "Mikado Genesis"]}}, Lyric Opera San Diego</ref> The opera's setting draws on [[Victorian era|Victorian]] notions of the far east, gleaned by Gilbert from the glimpses of Japanese fashion and art that immediately followed the beginning of trade between the two island empires, and during rehearsals Gilbert visited the popular [[Japanese Village, Knightsbridge|Japanese exhibition]] in [[Knightsbridge]], London.<ref>Jones (1985), pp. 22–25</ref> A critic wrote in 2016: "It has been argued that the theatricality of the show was ... a tribute on the part of Gilbert and Sullivan to the growing British appreciation of the Japanese aesthetic [in the 1880s]."<ref>Herr, K. T. [https://www.therapidian.org/problematic-mikado-questions-theatre-and-race "Local production of ''The Mikado'' raises questions on theatre and race"], ''The Rapidian'', Grand Rapids, Michigan, 22 April 2016</ref>

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 Directors and Native Inhabitants" of the village were thanked in the programme that was distributed on the first night.<ref>Allen, p. 239</ref> Sullivan inserted into his score, as "Miya sama", a version of a Japanese military march song, called "Ton-yare Bushi", composed in the [[Meiji (era)|Meiji era]].<ref name=Miya>Seeley, Paul. (1985) "The Japanese March in ''The Mikado''", ''The Musical Times'', '''126'''(1710) pp. 454–56.</ref><ref>[http://www.qsulis.demon.co.uk/Website_Louise_Gold/MIYA_SAMA.htm this translation] {{Webarchive|url=https://web.archive.org/web/20080111131314/http://www.qsulis.demon.co.uk/Website_Louise_Gold/MIYA_SAMA.htm |date=11 January 2008 }}. Daniel Kravetz wrote in ''The Palace Peeper'', December 2007, p. 3, that the song was composed in 1868 by Masujiro Omura, with words by Yajiro Shinagawa.</ref><ref>[http://www.geocities.jp/general_sasaki/historia-miyasan-eng.html "Historia Miya San"] {{Webarchive|url=https://web.archive.org/web/20150105034310/http://www.geocities.jp/general_sasaki/historia-miyasan-eng.html |date=5 January 2015 }}. General Sasaki gives historical information about "Ton-yare Bushi" and includes Midi files and a translation.  Here is a [https://www.youtube.com/watch?v=DVc-UNU48g0 YouTube version of the Japanese song].</ref> [[Giacomo Puccini]] later incorporated the same song into ''[[Madama Butterfly]]'' as the introduction to ''Yamadori, ancor le pene''. The characters' names in the play are not Japanese names, but rather (in many cases) English [[Baby talk|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''<ref group="n">This character is derived from [[James Planché]]'s Baron Factotum, the "Great-Grand-Lord-High-Everything" in ''The Sleeping Beauty in the Wood'' (1840). Williams (2010), p. 267</ref> and ''Pish-Tush'';<ref group="n">A character in the [[Bab Ballad]] "King Borriah Bungalee Boo" (1866) is the haughty "Pish-Tush-Pooh-Bah", which is split into two in ''The Mikado''&nbsp;– the terms ''[[wikt:pish|pish]],'' ''[[wikt:tush|tush]],'' ''[[wikt:pooh|pooh]],'' and ''[[wikt:bah|bah]]'' are all expressions of contempt.</ref> the hero is called ''Nanki-Poo'', baby-talk for "[[handkerchief]]".<ref>[http://www.ppt.org/documents/SG2901TheMikado.pdf "A Study Guide to the production of ''The Mikado''"], [[Pittsburgh Public Theater]], p. 13</ref><ref>Munich, Adrienne. [https://books.google.com/books?id=9nkgn8EhDTgC&pg=PA123 ''Queen Victoria's Secrets''], 1998, {{ISBN|978-0-231-10481-4}}</ref><ref>Seay, James L. {{usurped|1=[https://web.archive.org/web/20070927045525/http://pamphletpress.org/index.cfm?sec=7&story_id=69 "For Tricks that Are Dark"]}}, Pamphlet Press</ref> The [[headsman]]'s name, ''Ko-Ko'', is similar to that of the scheming Ko-Ko-Ri-Ko in ''[[Ba-ta-clan]]'' by [[Jacques Offenbach]].<ref>Faris, p. 53</ref>

[[File:Richard Temple.jpg|left|thumb|[[Richard Temple (opera singer)|Temple]] as the Mikado]]
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.<ref>{{usurped|1=[https://web.archive.org/web/20070927045525/http://pamphletpress.org/index.cfm?sec=7&story_id=69 Review of ''The Mikado'' discussing reception by the Japanese]}}</ref> Japanese [[Prince Komatsu Akihito]], who saw an 1886 production in London, took no offence.<ref>[https://www.goreyography.com/east/shibata.htm "Edward Gorey in Japan; Translation or Transformation: A Chat with Motoyuki Shibata"], Goreyography (2008)</ref> When [[Prince Fushimi Sadanaru]] made a state visit in 1907, the British government banned performances of ''The Mikado'' from London for six weeks,<ref group="n">The ban forced [[Helen Carte]] to drop the always-profitable show from her Gilbert and Sullivan repertory season. See Wilson and Lloyd, p. 83</ref> fearing that the play might offend him – a manoeuvre that backfired when the prince complained that he had hoped to see ''The Mikado'' during his stay.<ref>[https://query.nytimes.com/gst/abstract.html?res=9804E1DE133EE033A25754C0A9639C946697D6CF "London Greets Fushimi; He Visits King Edward&nbsp;– Wants to Hear "The Mikado""], ''The New York Times'', 7 May 1907</ref><ref>{{cite journal | first=Goodman | last=Andrew | title=The Fushimi incident: theatre censorship and The Mikado | journal=Journal of Legal History | volume=1 | issue=3 | year=1980 | pages=297–302| doi=10.1080/01440368008530722 }} Cass; Routledge</ref> A Japanese journalist covering the prince's stay attended a proscribed performance and confessed himself "deeply and pleasingly disappointed." Expecting "real insults" to his country, he had found only "bright music and much fun."<ref>{{cite book | last=Adair Fitz-Gerald | first=S. J. | title=The Story of the Savoy Opera in Gilbert and Sullivan's Day | page=212 | publisher=D. Appleton and Company | year=1925}}</ref>

After [[World War II]], ''The Mikado'' was staged in Japan in a number of private performances. <!-- DID [[J. C. Williamson]] perform The Mikado during its tour of Japan in the 1920s? -->The first public production, given at three performances, was in 1946 in the [[Tokyo Takarazuka Theater|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.<ref>{{usurped|1=[https://web.archive.org/web/20000902065001/https://www.gsarchive.net/mikado/html/mikado_japan.html Article about the 1946 ''Mikado'' in Japan]}}; [https://books.google.com/books?id=UEkEAAAAMBAJ&pg=PA42 "GIs play ''Mikado'' in Tokyo"], ''Life'' magazine, 9 September 1946, vol. 21, pp. 42–43</ref> General [[Douglas MacArthur]] banned a large-scale professional 1947 Tokyo production by an all-Japanese cast,<ref>{{usurped|1=[https://web.archive.org/web/20071001005347/http://www.time.com/time/magazine/article/0,9171,855746,00.html "Japan: No ''Mikado'', Much Regret"]}}, ''Time Magazine'', 16 June 1947</ref> but other productions have occurred in Japan. For example, the opera was performed at the Ernie Pyle Theatre in Tokyo in 1970, presented by the Eighth Army Special Service.<ref>[https://nla.gov.au/nla.cat-vn319034 "Ernie Pyle Theater Tokyo presents Gilbert and Sullivan's ''The Mikado''"], ''Japan Times'', 5 February 1970</ref>

In 2001, the town of [[Chichibu, Saitama|Chichibu]] (秩父), Japan, under the name of "Tokyo Theatre Company", produced an adaptation of ''The Mikado'' in Japanese.<ref name="tkyt">{{Cite web |url=http://www.tkyt.com/mikado/buxton/e/mikado1.html |title=Sumiko Enbutsu: ''The Mikado in the Town of Chichibu'' |access-date=9 March 2009 |archive-date=20 February 2012 |archive-url=https://web.archive.org/web/20120220170325/http://www.tkyt.com/mikado/buxton/e/mikado1.html |url-status=dead }}</ref><ref>Brooke, James. [https://www.nytimes.com/2003/04/03/international/asia/03JAPA.html "Japanese Hail ''The Mikado'', Long-Banned Imperial Spoof"], ''The New York Times'', 3 April 2003, accessed 15 July 2014</ref> Locals believe that Chichibu was the town Gilbert had in mind when he named his setting "Titipu", but there is no contemporary evidence for this theory.<ref>[http://infoweb.newsbank.com/iw-search/we/InfoWeb?p_action=doc&p_topdoc=1&p_docnum=1&p_sort=YMD_date:D&p_product=UKNB&p_text_direct-0=document_id=(%200F91F521345405FA%20)&p_docid=0F91F521345405FA&p_theme=aggdocs&p_queryname=0F91F521345405FA&f_openurl=yes&p_nbid=F59Q58URMTI3NTkxOTU3OS45NDE1MjY6MTo4OnJmLTE5MDc0&&p_multi=LTIB "The Mikado&nbsp;– Diary"]. ''The Times'', 23 July 1992</ref> Although the [[Hepburn system]] of [[transliteration]] (in which the name of the town appears as "Chichibu") is usually found today, it was very common in the 19th century to use the [[Nihon-shiki]] system, in which the name 秩父 appears as "Titibu". Thus, it is easy to surmise that "Titibu", found in the London press of 1884, 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 2006, the ''Chichibu Mikado'' was performed at the [[International Gilbert and Sullivan Festival]] in England.<ref name="JpSoc">Sean Curtin. [http://www.japansociety.org.uk/2217/the-chichibu-mikado/ ''The Chichibu Mikado''] {{Webarchive|url=https://web.archive.org/web/20110322230525/http://www.japansociety.org.uk/2217/the-chichibu-mikado/ |date=22 March 2011 }}, The Japan Society.</ref>

====Criticism====
Since the 1990s, some productions of the opera in the United States have drawn criticism from the Asian-American community as promoting "simplistic orientalist stereotypes".<ref>[[Frances Kai-Hwa Wang|Kai-Hwa Wang, Frances]]. [https://www.nbcnews.com/news/asian-america/stereotypes-mikado-stir-controversy-seattle-n157306 "Stereotypes in ''The Mikado'' Stir Controversy in Seattle"], NBC news, 17 July 2014</ref><ref>{{cite news |last1=Chang |first1=Irene |title=Pomona College Hears Call From Asians for More Ethnic Programs |url=https://www.latimes.com/archives/la-xpm-1990-11-22-ga-6877-story.html |access-date=19 October 2021 |work=[[Los Angeles Times]] |date=22 November 1990}}</ref> In 2014, after a production in [[Seattle]], Washington, drew national attention to such criticism,<ref>[https://aatrevue.com/Newsblog/yellowface-what-to-do/history-of-yellowface/the-mikado "History of Yellowface: ''The Mikado''"], ''Asian American Theatre Review'', accessed 13 July 2019</ref> the Gilbert biographer Andrew Crowther wrote that ''The Mikado'' "does not portray any of the characters as being 'racially inferior' or indeed fundamentally any different from British people. The point of the opera is to reflect British culture through the lens of an invented 'other', a fantasy Japan that has only the most superficial resemblance to reality."<ref name=CrowtherSensitivity>Crowther, Andrew. [https://www.andrewcrowther.co.uk/blog/ "The Mikado and Racism"], Andrew Crowther: Playwright and Biographer, 20 July 2014</ref> For example, the starting point for the plot of ''The Mikado'' is "an invented 'Japanese' law against flirting, which makes sense only as a reference to the sexual prudishness of British culture".<ref name=CrowtherSensitivity/> Crowther noted that production design and other features of traditionally staged productions of the opera often "do look somewhat insensitive, not to say insulting. ... It should [be possible] to avoid such things in the future, with a little sensitivity. ... G&S is about silliness, and fun, and ... mocking the powerful, and accepting the fundamental absurdity of life".<ref name=CrowtherSensitivity/> Some commentators dismissed the criticism as political correctness<ref>Levin, Michael. [https://www.huffingtonpost.com/michaellevin/who-the-hell-put-these-pe_b_5684638.html?ir=Arts "Who the Hell Put These People in Charge of Popular Culture?"], ''Huffington Post'', 16 August 2014</ref> but a public discussion of the issue in Seattle a month later drew a large crowd who nearly all agreed that, although works like ''The Mikado'' should not be abandoned in their traditional form, there should be "some kind of contextualizing apparatus to show that the producers and performers are at least thinking about the problems in the work".<ref>Kiley, Brendan. [https://slog.thestranger.com/slog/archives/2014/08/19/last-nights-polite-but-necessary-discussion-at-the-seattle-rep-about-race-theater-and-the-mikado-controversy "Last Night's Polite But Necessary Discussion at the Seattle Rep About Race, Theater, and the ''Mikado'' Controversy"], TheStranger.com, 19 August 2014</ref>

In 2015 a planned production by the [[New York Gilbert and Sullivan Players]] was withdrawn after its publicity materials ignited a similar protest in the Asian-American blogosphere.<ref>Nguyen, Michael D. [https://www.nbcnews.com/news/asian-america/new-york-city-production-mikado-draws-criticism-accusations-racism-n429546 "New York City Production of 'The Mikado' Canceled Following Accusations of Racism"], ''NBC News'', 18 September 2015</ref> A Tokyo-based writer who was sympathetic to Gilbert and Sullivan's original setting of the opera later noted: "While as a Japanese residing in Japan I am not offended by the production photos [that offended many Asian-Americans], it is not difficult to imagine how Asian-Americans found the racial cross-dressing unbearable, as it may have reminded them of painful incidents of discrimination that they face as a minority in America."<ref>Morisawa, Masaki. [https://review.gale.com/2019/11/22/the-mikado-cultural-appropriation-or-satire "Cultural Appropriation or Swiftian Satire? Gilbert and Sullivan’s ''The Mikado''"], [[Gale (publisher)|Gale]], November 22, 2019</ref> The company redesigned its ''Mikado'' production and debuted the new concept in December 2016, receiving a warm review from ''The New York Times''.<ref>Fonseca-Wollheim, Corinna da. [https://www.nytimes.com/2016/12/30/arts/music/review-gilbert-and-sullivan-the-mikado.html "Is ''The Mikado'' Too Politically Incorrect to Be Fixed? Maybe Not."], 30 December 2016; and [https://www.broadwayworld.com/article/New-York-Gilbert-Sullivan-Players-Reveals-Concepts-for-Reimagined-THE-MIKADO-Kelvin-Moon-Loh-Joins-Creative-Team-20161006# "New York Gilbert & Sullivan Players Reveals Concepts for Reimagined ''The Mikado''; Kelvin Moon Loh Joins Creative Team!"], BroadwayWorld.com, 6 October 2016</ref> After [[Lamplighters Music Theatre]] of San Francisco planned a 2016 production, objections by the Asian-American community prompted them to reset the opera in [[Duchy of Milan|Renaissance-era Milan]], eliminating all references to Japan.<ref>Tran, Diep. [http://www.americantheatre.org/2016/04/20/building-a-better-mikado-minus-the-yellowface "Building a Better ''Mikado'', Minus the Yellowface"], ''American Theatre'', 20 April 2016</ref> Reviewers felt that the change resolved the issue.<ref>Kosman, Joshua. [http://www.sfgate.com/music/article/Lamplighters-transplanted-Mikado-retains-9129437.php "Lamplighters' transplanted ''Mikado'' retains its charm"], ''[[San Francisco Chronicle]]'', 8 August 2016; and Hurwitt, Sam. [https://www.mercurynews.com/entertainment/ci_30220924/review-guilt-free-mikado-unveiled-by-lamplighters "Review: Guilt-free ''Mikado'' unveiled by Lamplighters"], ''[[The Mercury News]]'', 8 August 2016</ref> Among other productions that have experimented with varying the original setting, a 2022 staging by Gilbert & Sullivan Austin, titled ''The McAdo'', relocated the action to Scotland. A reviewer from CTX Live Theater praised the adaptation, writing that ''The Mikado''{{'}}s "story is universalizing and could be set anywhere on the planet in any society".<ref>Robinson, David Glen. [https://ctxlivetheatre.com/reviews/20230610-review-the-mcado-by-gilbert-sullivan-aust "''The McAdo'' by Gilbert & Sullivan Austin"], CTXLiveTheatre.com, 11 June 2023</ref>

===Modernised words and phrases===
[[File:BarringPooh.jpg|right|thumb|[[Rutland Barrington|Barrington]]: "Lord-high everything else"]]
Modern productions update some of the words and phrases in ''The Mikado''.  For example, two songs in the opera use the word "[[nigger]]". In "As some day it may happen", often called the "list song", Ko-Ko names "the nigger serenader and the others of his race". In the Mikado's song, "A more humane Mikado", the lady who modifies her appearance excessively is to be punished by being "blacked like a nigger with permanent walnut juice".<ref name=Dover41>Gilbert (1992) p. 41, note 1</ref> These references are to white performers in [[blackface]] [[minstrel show]]s, a popular entertainment in the Victorian era, rather than to dark-skinned people.<ref name=Dover9>Gilbert (1992), [https://books.google.com/books?id=ZgVUqbK-_1EC&pg=PA9 p. 9, note 1]</ref> Until well into the 20th century, British people did not consider the word "nigger" offensive.<ref name=Pullum>Pullum, Geoffrey. [http://chronicle.com/blogs/linguafranca/2014/05/19/the-politics-of-taboo-words/ "The Politics of Taboo Words"] {{Webarchive|url=https://web.archive.org/web/20140520215737/http://chronicle.com/blogs/linguafranca/2014/05/19/the-politics-of-taboo-words |date=20 May 2014 }}, ''The Chronicle of Higher Education'', 19 May 2014</ref> Audience members objected to the word during the [[D'Oyly Carte Opera Company]]'s 1948 American tour, however, and [[Rupert D'Oyly Carte]] asked [[A. P. Herbert]] to supply revised wording. These alterations have been incorporated into the opera's libretto and score since then.<ref name=B572>Bradley (1996) p. 572.</ref><ref group="n">In Ko-ko's song the nigger serenader became "the [[banjo]] serenader" (Dover, p. 9; and Green, p. 416) and the Mikado's punishment for the lady was to be "painted with vigour" (Bradley (1996) p. 623; and Green p. 435).</ref>

Also included in the little list song are "the lady novelist" (referring to writers of fluffy romantic novels; these had been lampooned earlier by [[George Eliot]])<ref>Eliot, George. [https://faculty.winthrop.edu/kosterj/engl618/readings/theory/eliotsillynovels.pdf "Silly Novels by Lady Novelists"] (1896).</ref> and "the lady from the provinces who dresses like a guy", where ''guy'' refers to the dummy that is part of [[Guy Fawkes Night]], meaning a tasteless woman who dresses like a [[scarecrow]].<ref>Benford, Chapter IX</ref> In the 1908 revival Gilbert allowed substitutions for "the lady novelist".<ref name=B572/><ref>Baily, Lesley. ''Gilbert and Sullivan and their world'' (1973), Thames and Hudson, p. 117</ref> To avoid distracting the audience with references that have become offensive over time, lyrics are sometimes modified in modern productions.<ref>Rahim, Sameer. [https://www.telegraph.co.uk/culture/music/opera/9841816/The-opera-novice-The-Mikado-by-Gilbert-and-Sullivan.html "The opera novice: ''The Mikado'' by Gilbert & Sullivan"], ''The Telegraph'', 1 February 2013, accessed 13 May 2014; Tommasini, Anthony. [https://www.nytimes.com/1998/01/10/arts/music-review-mikado-survives-some-updating.html "''Mikado'' Survives Some Updating"], ''The New York Times'', 10 January 1998, accessed 20 May 2014</ref> Changes are also often made, especially in the little list song, to take advantage of opportunities for topical jokes.<ref>{{usurped|1=[https://archive.today/20131129004122/http://arts.independent.co.uk/music/reviews/article54927.ece ''The Independent'' review of 2004 London ''Mikado'']}}</ref> [[Richard Suart]], a singer well known in the role of Ko-Ko, published a book containing a history of rewrites of the little list song, including many of his own.<ref>Suart, Richard.  [https://www.amazon.co.uk/dp/184368036X ''They'd None of 'em Be Missed'']. Pallas Athene Arts, 2008 {{ISBN|978-1-84368-036-9}}</ref>

===Enduring popularity===
[[File:The Mikado - The criminal cried.jpg|left|thumb|upright=1.7|D'Oyly Carte Opera Company production, 1962]]
As soon as the opera premiered, Gilbert, Sullivan and Carte began to license numerous products that used the opera's name, characters, lyrics, lines and designs, not just for licensing fees, but to drive ticket sales; the show "was by far the most successful example [of merchandising] in the 19th century".<ref name=Pasa/> ''Mikado'' trading cards were created that advertised various products.<ref>{{cite web | url=https://www.gsarchive.net/mikado/advertising/coates.html | archive-url=https://web.archive.org/web/20080607090525/https://www.gsarchive.net/mikado/advertising/coates.html | url-status=dead | archive-date=7 June 2008 | title=Mikado-themed advertising cards | publisher=The Gilbert and Sullivan Archive | year=2007 }}</ref> Other ''Mikado'' products included figurines, fabrics, jewelry, perfumes, puzzles, toothpaste, soap, games, wallpaper, corsets, sewing thread and stoves.<ref name=Pasa/>

''The Mikado'' became the most frequently performed [[Savoy Opera]]<ref>Wilson and Lloyd, p. 37</ref> and has been translated into numerous languages. It is one of the most frequently played musical theatre pieces in history.<ref>[http://www.musicals101.com/gilbert3.htm See here] {{Webarchive|url=https://web.archive.org/web/20100105033554/http://www.musicals101.com/gilbert3.htm |date=5 January 2010 }} [http://www.libertystory.net/LSARTSGILBERT.htm and here] {{Webarchive|url=https://web.archive.org/web/20170129140225/http://www.libertystory.net/LSARTSGILBERT.htm |date=29 January 2017 }}</ref> A feature on [[Chicago Lyric Opera]]'s 2010 production noted that the opera "has been in constant production for the past 125 years", citing its "inherent humor and tunefulness".<ref name=Steinberg/> One reviewer recounted seeing three professional productions of ''The Mikado'' in a 27-hour span of time in 2025.<ref name=Turn118/>

''The Mikado'' has been admired by other composers. Dame [[Ethel Smyth]] wrote of Sullivan, "One day he presented me with a copy of the full score of ''[[The Golden Legend (cantata)|The Golden Legend]]'', adding: 'I think this is the best thing I've done, don't you?' and when truth compelled me to say that in my opinion ''The Mikado'' is his masterpiece, he cried out: 'O you wretch!' But though he laughed, I could see he was disappointed."<ref>Smythe, Dame Ethel. ''Impressions that Remained'', 1923, Quoted in Baily, p. 292</ref>

==Historical casting==
The following tables show the casts of the principal original productions and D'Oyly Carte Opera Company touring repertory at various times through to the company's 1982 closure:<ref group="n">Biographies of the cast members who are not blue-linked may be found at Stone, David. [https://gsarchive.net/whowaswho/index.htm ''Who Was Who in the D'Oyly Carte Opera Company (1875–1982)''], Gilbert and Sullivan Archive, accessed 10 October 2023</ref>

{| class="wikitable" style="width: 65em; font-size: 90%; line-height: 1.2"
!Role!!Savoy Theatre<br />1885<ref>Rollins and Witts, p. 10</ref>!!Fifth Avenue<br />1885<ref>Gänzl, p. 275.</ref><ref group="n">The production later moved to the Standard Theatre.</ref>!!Savoy Theatre<br />1888<ref>Rollins and Witts, p. 11</ref>||Savoy Theatre<br />1895<ref>Rollins and Witts, p. 15</ref>!!Savoy Theatre<br />1908<ref>Rollins and Witts, p. 22</ref>
|-
|The Mikado||[[Richard Temple (opera singer)|Richard Temple]]||[[Frederick Federici]]||[[Richard Temple (opera singer)|Richard Temple]]||[[R. Scott Fishe]]²||[[Henry Lytton]]
|-
|Nanki-Poo||[[Durward Lely]]||[[Courtice Pounds]]||[[J. G. Robertson]]||[[Charles Kenningham]]||[[Strafford Moss]]
|-
|Ko-Ko||[[George Grossmith]]||[[George Thorne (actor)|George Thorne]]||[[George Grossmith]]||[[Walter Passmore]]||[[Charles H. Workman]]
|-
|Pooh-Bah||[[Rutland Barrington]]||[[Fred Billington]]||[[Rutland Barrington]]||[[Rutland Barrington]]||[[Rutland Barrington]]
|-
|Pish-Tush||[[Frederick Bovill]]||Charles Richards<ref>George Byron Browne later in the run</ref>||Richard Cummings||[[Jones Hewson]]||[[Leicester Tunks]]
|-
|Go-To<sup>1</sup>||[[Rudolph Lewis (singer)|Rudolph Lewis]]||R. H. Edgar||[[Rudolph Lewis (singer)|Rudolph Lewis]]|| ||Fred Drawater
|-
|Yum-Yum||[[Leonora Braham]]||[[Geraldine Ulmar]]||[[Geraldine Ulmar]]||[[Florence Perry]]||[[Clara Dow]]
|-
|Pitti-Sing||[[Jessie Bond]]||Kate Forster||[[Jessie Bond]]||[[Jessie Bond]]||[[Jessie Rose]]
|-
|Peep-Bo||[[Sybil Grey]]||Geraldine St. Maur||[[Sybil Grey]]||[[Emmie Owen]]||Beatrice Boarer
|-
|Katisha||[[Rosina Brandram]]||Elsie Cameron||[[Rosina Brandram]]||[[Rosina Brandram]]||[[Louie René]]
|}
<sup>1</sup>Role of Go-To added from April 1885

²For the 1896–97 revival, Temple returned to play The Mikado during January and February 1896, and again from November 1896&nbsp;– February 1897.

{| class="wikitable" style="width: 65em; font-size: 90%; line-height: 1.2"
!Role!!D'Oyly Carte<br />1915 Tour<ref>Rollins and Witts, p. 132</ref>!!D'Oyly Carte<br />1925 Tour<ref>Rollins and Witts, p. 148</ref>!!D'Oyly Carte<br />1935 Tour<ref>Rollins and Witts, p. 160</ref>!!D'Oyly Carte<br />1945 Tour<ref>Rollins and Witts, p. 170</ref>!!D'Oyly Carte<br />1951 Tour<ref>Rollins and Witts, p. 176</ref>
|-
|The Mikado||[[Leicester Tunks]]||[[Darrell Fancourt]]||[[Darrell Fancourt]]||[[Darrell Fancourt]]||[[Darrell Fancourt]]
|-
|Nanki-Poo||Dewey Gibson||[[Charles Goulding]]||[[Charles Goulding]]||[[John Dean (singer)|John Dean]]||Neville Griffiths
|-
|Ko-Ko||[[Henry Lytton]]||[[Henry Lytton]]||[[Martyn Green]]||[[Grahame Clifford]]||[[Martyn Green]]
|-
|Pooh-Bah||[[Fred Billington]]||[[Leo Sheffield]]||[[Sydney Granville]]||[[Richard Walker (singer)|Richard Walker]]||[[Richard Watson (singer)|Richard Watson]]
|-
|Pish-Tush||[[Frederick Hobbs (singer)|Frederick Hobbs]]||Henry Millidge||[[Leslie Rands]]||Wynn Dyson||[[Alan Styler]]
|-
|Go-To|| ||T. Penry Hughes||[[L. Radley Flynn]]||[[L. Radley Flynn]]||Donald Harris
|-
|Yum-Yum||Elsie McDermid||[[Elsie Griffin]]||Kathleen Frances||[[Helen Roberts]]||Margaret Mitchell
|-
|Pitti-Sing||[[Nellie Briercliffe]]||[[Aileen Davies]]||[[Marjorie Eyre]]||[[Marjorie Eyre]]||Joan Gillingham
|-
|Peep-Bo||Betty Grylls||Beatrice Elburn||[[Elizabeth Nickell-Lean]]||June Field||[[Joyce Wright]]
|-
|Katisha||[[Bertha Lewis]]||[[Bertha Lewis]]||[[Dorothy Gill]]||[[Ella Halman]]||[[Ella Halman]]
|}

{| class="wikitable" style="width: 65em; font-size: 90%; line-height: 1.2"
!Role!!D'Oyly Carte<br />1955 Tour<ref>Rollins and Witts, p. 180</ref>!!D'Oyly Carte<br />1965 Tour<ref>Rollins and Witts, 1st Supplement, p. 7</ref>!!D'Oyly Carte<br />1975 Tour<ref>Rollins and Witts, 3rd Supplement, p. 28</ref>!!D'Oyly Carte<br />1982 Tour<ref>Rollins and Witts, 4th Supplement, p. 42</ref>
|-
|The Mikado||[[Donald Adams]]||[[Donald Adams]]||[[John Ayldon]]||[[John Ayldon]]
|-
|Nanki-Poo||Neville Griffiths||[[Philip Potter]]||Colin Wright||[[Geoffrey Shovelton]]
|-
|Ko-Ko||[[Peter Pratt]]||[[John Reed (actor)|John Reed]]||[[John Reed (actor)|John Reed]]||[[James Conroy-Ward]]
|-
|Pooh-Bah||[[Fisher Morgan]]||[[Kenneth Sandford]]||[[Kenneth Sandford]]||[[Kenneth Sandford]]
|-
|Pish-Tush||[[Jeffrey Skitch]]||[[Thomas Lawlor (opera singer)|Thomas Lawlor]]||[[Michael Rayner]]||Peter Lyon
|-
|Go-To||John Banks||[[George Cook (opera singer)|George Cook]]||John Broad||Thomas Scholey
|-
|Yum-Yum||Cynthia Morey<ref>Morey is President of the Gilbert and Sullivan Society in London.  See also Ffrench, Andrew. [https://www.oxfordmail.co.uk/news/10202495.Retired_opera_singer_Cynthia_Morey_lands__yum__film_role_in_Quartet/ "Retired opera singer Cynthia Morey lands 'yum' film role in Quartet"], ''Oxford Mail'', 2 February 2013</ref>||[[Valerie Masterson]]||[[Julia Goss]]||[[Vivian Tierney]]
|-
|Pitti-Sing||[[Joyce Wright]]||[[Peggy Ann Jones]]||Judi Merri||Lorraine Daniels
|-
|Peep-Bo||Beryl Dixon||[[Pauline Wales]]||[[Patricia Leonard]]||Roberta Morrell
|-
|Katisha||[[Ann Drummond-Grant]]||[[Christene Palmer]]||[[Lyndsie Holland]]||[[Patricia Leonard]]
|}

==Recordings==
{{Listen
|filename=1914 - Edison Light Opera Company - Favorite airs from The Mikado (restored).ogg
|title="Favorite airs from ''The Mikado''"<!--This is the name the recording was released under. Please do not correct it to British spelling-->
|description= A 1914 [[Edison Records]] recording of selections from the overture, "A wand'ring minstrel", "Three little maids", "Tit-willow", and the Act II finale.
}}
[[File:Mik1908Passmore.jpg|right|288px|thumb|Cover of re-issue of 1907 ''Mikado'' recording]]

===Audio recordings===
''The Mikado'' has been recorded more often than any other Gilbert and Sullivan opera.<ref name=Discography>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20090726051027/http://gasdisc.oakapplepress.com/mik.htm "Recordings of ''The Mikado''"]}}, Gilbert & Sullivan Discography, 13 July 2009, accessed 6 June 2012</ref> Of those by the D'Oyly Carte Opera Company, the 1926 recording is the best regarded. Of the modern recordings, the 1992 Mackerras/Telarc is admired.<ref name=Discography/>

;Selected audio recordings
* 1926 D'Oyly Carte&nbsp;– Conductor: [[Harry Norris (conductor)|Harry Norris]]<ref>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20160526030332/http://gasdisc.oakapplepress.com/mik1926.htm Review of the 1926 recording]}}, Gilbert & Sullivan Discography, 24 December 2003, accessed 31 July 2016</ref>
* 1936 D'Oyly Carte&nbsp;– Conductor: [[Isidore Godfrey]]<ref>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20160306203525/http://gasdisc.oakapplepress.com/mik1936.htm Review of the 1936 recording]}}, Gilbert & Sullivan Discography, 11 May 2003, accessed 31 July 2016</ref>
* 1950 D'Oyly Carte&nbsp;– New Promenade Orchestra, Conductor: Isidore Godfrey<ref>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20160312052850/http://gasdisc.oakapplepress.com/mik1950.htm Review of the 1950 recording]}}, Gilbert & Sullivan Discography, 11 July 2009, accessed 31 July 2016</ref>
* 1957 D'Oyly Carte&nbsp;– [[New Symphony Orchestra (London)#Post-war NSO|New Symphony Orchestra of London]], Conductor: Isidore Godfrey<ref>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20160801155022/http://gasdisc.oakapplepress.com/mik1957.htm Review of the 1957 recording]}}, Gilbert & Sullivan Discography, 8 July 2005, accessed 31 July 2016</ref>
* 1984 [[Stratford Festival]]&nbsp;– Conductor: Berthold Carrière<ref>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20160731223503/http://gasdisc.oakapplepress.com/mikstrat.htm Review of the 1984 Stratford recording]}}, Gilbert & Sullivan Discography, 24 October 2001, accessed 31 July 2016</ref>
* 1990 New D'Oyly Carte&nbsp;– Conductor: John Pryce-Jones<ref>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20160306204426/http://gasdisc.oakapplepress.com/mikndoc.htm Review of the 1990 recording]}}, Gilbert & Sullivan Discography, 12 July 2009, accessed 31 July 2016</ref>
* 1992 Mackerras/Telarc&nbsp;– Orchestra & Chorus of the Welsh National Opera, Conductor: Sir [[Charles Mackerras]]<ref>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20160803213909/http://gasdisc.oakapplepress.com/mikmack.htm Review of the 1992 recording]}}, Gilbert & Sullivan Discography, 12 July 2009, accessed 31 July 2016</ref>

===Films and videos===
A three-minute silent film of a scene from the opera was made in 1902.<ref name=Pasa/> This was followed in 1906 by a silent film of the opera by [[Gaumont Film Company]]. Sound film versions of 12 of the musical numbers from ''The Mikado'' were produced in Britain and presented as programmes in 1907 titled ''Highlights from The Mikado''. Another production was released the same year by the Walturdaw Company, starring [[George Thorne (actor)|George Thorne]] as Ko-Ko. Both of these programmes used the [[Edward George Turner|Cinematophone]] [[sound-on-disc]] system to synchronize phonograph recordings ([[Phonoscène]]) of the performers singing and speaking with the silent footage of the performance.<ref>[[Rick Altman|Altman, Rick]]. ''Silent Film Sound'', Columbia University Press (2005), p. 159, {{ISBN|978-0-231-11662-6}}</ref> The first full-length film of the opera, called ''Fan Fan'', was a 1918 silent film with a cast of children; theatres could show the film with live musical accompaniment.<ref name=Pasa/>

In 1926, the D'Oyly Carte Opera Company made a brief promotional film of excerpts from ''The Mikado''. Some of the most famous Savoyards of the day are seen in this film, including [[Darrell Fancourt]] as The Mikado, [[Henry Lytton]] as Ko-Ko, [[Leo Sheffield]] as Pooh-Bah, [[Elsie Griffin]] as Yum-Yum, and [[Bertha Lewis]] as Katisha.<ref>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20160524080829/http://gasdisc.oakapplepress.com/mik1926f.htm "The 1926 D'Oyly Carte ''Mikado'' Film"]}}, The Gilbert & Sullivan Discography, 15 April 2009, accessed 31 July 2016</ref><ref group="n">The first [[phonoscènes]] in the UK were presented at [[Buckingham Palace]] in 1907 and included Tit-Willow, sung by George Thorne.</ref><ref>Schmitt, Thomas. ''The Genealogy of Clip Culture'', in Henry Keazor and Thorsten Wübbena (eds.) ''Rewind, Play, Fast Forward: The Past, Present and Future of the Music Video'', transcript Verlag (2010), pp. 45 et seq., {{ISBN|978-3-8376-1185-4}}</ref>

In 1939, Universal Pictures released a ninety-minute [[The Mikado (1939 film)|film adaptation of ''The Mikado'']]. Made in [[Technicolor]], the film stars [[Martyn Green]] as Ko-Ko, [[Sydney Granville]] as Pooh-Bah, the American singer [[Kenny Baker (American singer and actor)|Kenny Baker]] as Nanki-Poo and [[Jean Colin]] as Yum-Yum. Many of the other leads and choristers were or had been members of the D'Oyly Carte company. The music was conducted by [[Geoffrey Toye]], a former D'Oyly Carte music director, who was also the producer and was credited with the adaptation, which involved a number of cuts, additions and re-ordered scenes. [[Victor Schertzinger]] directed, and William V. Skall received an [[Academy Award]] nomination for Best Cinematography.<ref>[https://www.gsarchive.net/mikado/1938film/souvenir/book/default.html "''The Mikado''"], Cinegram No. 75, Pilot Press, London (souvenir programme), The Gilbert and Sullivan Archive, 1938, accessed 31 July 2016</ref><ref>Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20160802043517/http://gasdisc.oakapplepress.com/mikfilm.htm "The Technicolor ''Mikado'' Film (1939)"]}}, The Gilbert and Sullivan Discography, 28 June 2009, accessed 31 July 2016</ref> Art direction and costume designs were by [[Marcel Vertès]].<ref>Galbraith IV, Stuart. [https://www.dvdtalk.com/reviews/47234/mikado-the "The Mikado (Blu-ray)"], DVDTalk, 27 March 2011</ref> There were some revisions&nbsp;– ''The Sun Whose Rays Are All Ablaze'' is performed twice, first by Nanki-Poo in a new early scene in which he serenades Yum-Yum at her window, and later in the traditional spot. A new prologue which showed Nanki-Poo fleeing in disguise was also added, and much of the Act II music was cut.

In 1966, the D'Oyly Carte Opera Company made [[The Mikado (1967 film)|a film version]] of ''The Mikado'' that closely reflected their traditional staging, although there are some minor cuts.  It was filmed on enlarged stage sets rather than on location, much like the 1965 [[Laurence Olivier]] ''[[Othello (1965 British film)|Othello]]'', and was directed by the same director, [[Stuart Burge]].  It stars [[John Reed (actor)|John Reed]], [[Kenneth Sandford]], [[Valerie Masterson]], [[Philip Potter]], [[Donald Adams]], [[Christene Palmer]] and [[Peggy Ann Jones]] and was conducted by [[Isidore Godfrey]].<ref>{{usurped|1=[https://web.archive.org/web/20060901114403/https://www.gsarchive.net/mikado/docimages/docalbum8.html Photos from the 1966 film]}}</ref> ''The New York Times'' criticised the filming technique and the orchestra and noted, "Knowing how fine this cast can be in its proper medium, one regrets the impression this ''Mikado'' will make on those not fortunate enough to have watched the company in the flesh.  The cameras have captured everything about the company's acting except its magic."<ref>Sullivan, Dan. [https://movies.nytimes.com/movie/review?res=9B06E5DB1F3BE63ABC4D52DFB566838C679EDE "The Mikado (1967)"], ''The New York Times'', 15 March 1967, accessed 22 March 2010</ref>

Video recordings of ''The Mikado'' include a 1972 offering from [[Gilbert and Sullivan for All]]; the 1982 Brent-Walker film;<ref>According to discographer Marc Shepherd, ''The Mikado'' is one of the weakest in the Brent Walker series. See Shepherd, Marc. {{usurped|1=[https://web.archive.org/web/20090822060424/http://gasdisc.oakapplepress.com/mikwalk.htm "The Brent Walker Mikado (1982)"]}}, The Gilbert and Sullivan Discography, 5 April 2009</ref> the well-regarded 1984 [[Stratford Festival]] video; and the 1986 [[English National Opera]] production (abridged). Opera Australia have released videos of their 1987 and 2011 productions.<ref name=Discography/> Since the 1990s, several professional productions have been recorded on video by the [[International Gilbert and Sullivan Festival]].<ref>[http://www.gsfestivals.org/shop/professional-shows "Professional Shows from the Festival"] {{webarchive|url=https://web.archive.org/web/20120626161615/http://gsfestivals.org/shop/professional-shows |date=26 June 2012 }}, Musical Collectibles catalogue website, accessed 15 October 2012</ref>

==Other adaptations==
''The Mikado'' was adapted as a children's book by W. S. Gilbert titled ''The Story of The Mikado'', which was Gilbert's last literary work.<ref>Gilbert (1921), preface by [[Rupert D'Oyly Carte]], p. vii: "But the evidence of never-failing popularity which recent revivals of the Savoy Operas have afforded suggests that this last literary work of Sir W. S. Gilbert should no longer be withheld [due to wartime shortages] from the public".</ref> It is a retelling of ''The Mikado'' with various changes to simplify language or make it more suitable for children. For example, in the "little list" song, the phrase "society offenders" is changed to "inconvenient people", and the second verse is largely rewritten.

[[File:The Story of the Mikado - Cover.png|thumb|Cover of ''The Story of the Mikado''. Art by [[Alice B. Woodward]].]]
The [[D'Oyly Carte Opera Company]] controlled the copyrights to performances of ''The Mikado'' and the other Gilbert and Sullivan operas in the U.K. until 1961. It usually required authorised productions to present the music and libretto exactly as shown in the copyrighted editions. Since 1961, Gilbert and Sullivan works have been in the [[public domain]] and frequently are adapted and performed in new ways.<ref>Fishman, Stephen. ''The Public Domain: How to Find Copyright-Free Writings, Music, Art & More'', Ch. 1, § A.4.a, Nolo Press, 3rd ed, 2006.</ref> Notable adaptations have included the following:
* Mikado March (1885) by [[John Philip Sousa]]<ref>Bierley, Paul E. ''The Works of John Philip Sousa'', Integrity Press, Westerville, Ohio (1984), p. 71</ref>
* ''The Jazz Mikado'' (1927, Berlin)<ref>[https://grimsdyke.com/notable-gilbert-sullivan-adaptations "Notable Gilbert & Sullivan adaptations"], Grim's Dyke Hotel, 29 December 2016</ref>
* ''[[The Swing Mikado]]'' was an adaptation of ''The Mikado'' by the [[Federal Theatre Project]] with an all-black cast, using swing music and set in the South Pacific, that premiered in Chicago in 1938 and transferred to Broadway.<ref name=Pasa/>
* ''[[The Hot Mikado (1939 production)|The Hot Mikado]]'' (1939) was a competing Broadway adaptation of ''The Mikado'' produced by [[Mike Todd]], with an all-black cast, using jazz and swing music.<ref name=Pasa/>
* [[Tennessee Ernie Ford]], in 1959, broadcast a 30-minute adaptation on his television show; he played Ko-Ko.<ref name=Pasa/>
* ''[[The Bell Telephone Hour]]'' version (1960) featured [[Groucho Marx]] as Ko-Ko, [[Stanley Holloway]] as Pooh-Bah, and [[Helen Traubel]] as Katisha. It was directed by [[Martyn Green]].<ref name=Pasa/>
* ''[[The Cool Mikado]]'' is a 1962 British musical film directed by [[Michael Winner]] that adapts ''The Mikado'' in 1960s pop music style and reset as a comic Japanese gangster story.<ref name=Pasa/>
* ''[[The Black Mikado]]'' (1975) was a jazzy, sexy production set on a Caribbean island.<ref>{{usurped|1=[https://web.archive.org/web/20160526230903/http://gasdisc.oakapplepress.com/mikblack.htm ''The Black Mikado'']}}, The Gilbert & Sullivan Discography, 25 November 2001, accessed 31 July 2016</ref>
* The [[Chichibu, Saitama|Chichibu]] production of ''The Mikado'' by the "Tokyo Theatre Company"<ref name="JpSoc" />
* ''Metropolitan Mikado'', a political satire adapted by [[Ned Sherrin]] and [[Alistair Beaton]], first performed at [[Queen Elizabeth Hall]] (1985) starring [[Louise Gold]], Simon Butteriss, [[Rosemary Ashe]], [[Robert Meadmore]] and [[Martin Smith (actor/musician)|Martin Smith]], produced by [[Raymond Gubbay]].<ref>Walsh, Maeve. [https://www.independent.co.uk/arts-entertainment/theatre-it-was-15-years-ago-today-the-great-ned-and-ken-show-1108535.html "Theatre: It Was 15 Years Ago Today; The great Ned and Ken show"] {{Webarchive|url=https://web.archive.org/web/20180911225159/https://www.independent.co.uk/arts-entertainment/theatre-it-was-15-years-ago-today-the-great-ned-and-ken-show-1108535.html |date=11 September 2018 }}, ''The Independent'', 25 July 1999</ref>
* ''[[Hot Mikado]]'' (1986) is a jazz and swing style adaptation that premiered in Washington, D.C. and has been played frequently since then.
* [[Essgee Entertainment]] produced an adapted version of ''The Mikado'' in 1995 in Australia and New Zealand.<ref>[https://essgee.com/html/MIKindex.html Information about Essgee's ''Mikado'']</ref>

==In popular culture==
{{Main|Cultural influence of Gilbert and Sullivan}}

[[File:Mikado ad.jpg|left|thumb|300px|1886 advertisement featuring the "three little maids"]]
A wide variety of popular media, including films, television, theatre, and advertising have referred to, parodied or pastiched ''The Mikado'' or its songs, and phrases from the libretto have entered popular usage in the English language.<ref name=GSVLOC>[https://gsvloc.org/gilbert-sullivan-resources/gilbert-sullivan-in-popular-culture/the-mikado "Gilbert & Sullivan in Popular Culture: ''The Mikado''"], The Gilbert & Sullivan Very Light Opera Company, accessed 11 June 2017</ref> Some of the best-known of these cultural influences are described below.

Quotes from ''The Mikado'' were used in letters to the police by the [[Zodiac Killer]], who murdered at least five people in the [[San Francisco]] Bay area in 1968 and 1969.<ref>Dowd, Katie. [https://www.sfgate.com/crime/article/zodiac-340-cipher-solved-solution-code-15795178.php "The Zodiac Killer's most uncrackable cipher has, at last, been solved"], SFGate, 11 December 2020</ref> A second-season (1998) episode of the TV show ''[[Millennium (TV series)|Millennium]]'', titled "The Mikado", is based on the Zodiac case.<ref>[http://millennium-thisiswhoweare.net/cmeacg/episode.php?mlm_code=213 "''Millennium'' Episode Profile of 'The Mikado'"] {{Webarchive|url=https://web.archive.org/web/20101006111656/http://millennium-thisiswhoweare.net/cmeacg/episode.php?mlm_code=213 |date=6 October 2010 }}. Millennium-This Is Who We Are, Graham P. Smith, accessed 16 August 2010</ref> ''The Mikado'' is parodied in ''[[Sumo of the Opera]]'', which credits Sullivan as the composer of most of its songs.<ref>Shulgasser-Parker, Barbara. [https://www.commonsensemedia.org/movie-reviews/veggietales-sumo-of-the-opera "VeggieTales: 'Sumo of the Opera'"] {{Webarchive|url=https://web.archive.org/web/20200612101439/https://www.commonsensemedia.org/movie-reviews/veggietales-sumo-of-the-opera |date=12 June 2020 }}, Common Sense Media, accessed 12 June 2020</ref> The detective novel ''[[Death at the Opera]]'' (1934) by [[Gladys Mitchell]] is set against a background of a production of ''The Mikado''.<ref>Mitchell, Gladys. ''Death at the Opera'', Grayson & Grayson (London: 1934)</ref> In 2007 the Asian American theatre company [[Lodestone Theatre Ensemble]] produced ''The Mikado Project'', an original play by Doris Baizley and [[Ken Narasaki]]. It was a [[deconstruction]] of the opera premised on a fictional Asian American theatre company attempting to raise funds, while grappling with perceived racism in productions of ''The Mikado'', by producing a revisionist version of the opera.<ref>[http://www.lodestonetheatre.org/2006Mikado.html ''The Mikado Project''] {{webarchive|url=https://web.archive.org/web/20110725050943/http://www.lodestonetheatre.org/2006Mikado.html |date=25 July 2011 }}, LodestoneTheatre.org, accessed 2 October 2010</ref> This was adapted as a film in 2010.<ref>Heymont, George. [https://www.huffingtonpost.com/george-heymont/the-mikado-project-troubl_b_851865.html "The Mikado Project (Trouble In Titipu)"], ''The Huffington Post'', 21 April 2011, accessed 14 March 2012</ref>

[[File:1887SorcererRuddigoreWallpaper.jpg|right|upright|thumb|Wallpaper showing characters from ''The Mikado'' and other Savoy operas]]
Film and television references to ''The Mikado'' include the climax of the 1978 film ''[[Foul Play (1978 film)|Foul Play]]'', which takes place during a performance of ''The Mikado''.{{citation needed|date=April 2023}} In the 2010 episode "[[Robots Versus Wrestlers]]" of the TV sitcom ''[[How I Met Your Mother]]'', at a high-society party, Marshall strikes an antique Chinese gong. The host rebukes him: "Young man, that gong is a 500-year-old relic that hasn't been struck since [[W. S. Gilbert]] hit it at the London premiere of ''The Mikado'' in 1885!" Marshall quips, "His wife's a 500-year-old relic that hasn't been struck since W. S. Gilbert hit it at the London premiere".<ref>Bowman, Donna. [https://www.avclub.com/how-i-met-your-mother-robots-vs-wrestlers-1798164945 "''How I Met Your Mother'' 'Robots Vs. Wrestlers'"], ''[[The A.V. Club]]'', [[The Onion|Onion, Inc.]], 10 May 2010, accessed 19 June 2016</ref>

[[File:Cover and cast of characters from Ed J. Smith's The Capitalist, or, The City of Fort Worth. A Parody of The Mikado.jpg|right|upright|thumb|From ''The Capitalist'', 1888]]
"[[The Mikado (comics)|The Mikado]]" is a villainous vigilante in the comic book superhero series ''[[Question (character)|The Question]]'', by [[Denny O'Neil]] and [[Denys Cowan]]. He dons a Japanese mask and kills malefactors in appropriate ways&nbsp;– letting "the punishment fit the crime".<ref>''Who's Who in the DC Universe'', update 1987, vol. 4, p. 8</ref> In 1888, Ed J. Smith wrote a stage parody of ''The Mikado'' called ''The Capitalist; or, The City of [[Fort Worth]]'' to encourage capital investment in Fort Worth, Texas.<ref>Smith, Ed. [http://digitalcollections.baylor.edu/cdm/ref/collection/07texas-pro/id/1002 "The Capitalist; or, The City of Fort Worth (The Texas Mikado)"], Baylor University Libraries Digital Collections, accessed 9 November 2012</ref> The [[2-8-2]] railroad locomotive was renamed "The Mikado" when a U.S. production run of these locomotives was shipped to Japan in 1893. Fans even decorated ''Mikado'' rooms in their homes, and ''Mikado'' clubs were established across America.  In 1886, a community in the state of Michigan was named [[Mikado, Michigan|Mikado]].<ref name=Pasa/>

===Popular phrases from ''The Mikado''===
The phrase "A [[short, sharp shock]]", from the Act 1 song "I am so proud" has entered the English language, appearing in titles of books and songs, such as in samples of [[Pink Floyd]]'s "[[The Dark Side of the Moon]]", as well as political manifestos. "Let the punishment fit the crime" is another often-used phrase from the Mikado's Act II song and has been mentioned in the course of British political debates. Both concepts predate Gilbert.<ref name=Green>Green, Edward. [https://news.bbc.co.uk/2/hi/uk_news/magazine/3634126.stm "Ballads, songs and speeches"], ''BBC News'', 20 September 2004, accessed 30 September 2009</ref><ref>[https://keithwiley.com/mindRamblings/deathPenalty.shtml "Death Penalty"], Keith Wiley, April 2001, referring to the Code of [[Hammurabi]] and the Bible; In ancient Rome, [[Cicero]] proposed: "let the punishment fit the offence" ({{langx|la|noxiae poena par esto}}).{{cite book |last=Cicero |first=Marcus Tullius |author1-link=Cicero |title=De Legibus |trans-title=[[De Legibus|On the Laws]] |translator-last=Keyes |translator-first=Clinton |orig-date=c. 50 BC |at=Book III, paragraph XX |series=[[Loeb Classical Library]] |volume=213 |publisher=Harvard University Press |date=1928 |url=https://www.loebclassics.com/view/marcus_tullius_cicero-de_legibus/1928/pb_LCL213.513.xml}}</ref> Examples of later use include episode 80 of the television series ''[[Magnum, P.I.]]'', "Let the Punishment Fit the Crime", which features bits of several songs from ''The Mikado''.<ref>See [[List of Magnum, P.I. episodes|Wikipedia List of Magnum, P.I. episodes]] and [http://www.tv.com/magnum-p.i./let-the-punishment-fit-the-crime/episode/16074/summary.html TV.com Magnum, P.I. Episode Guide] {{Webarchive|url=https://web.archive.org/web/20090203113023/http://www.tv.com/magnum-p.i./let-the-punishment-fit-the-crime/episode/16074/summary.html |date=3 February 2009 }}</ref> The phrase and the Mikado's song also are featured in the ''[[Dad's Army]]'' episode "A Soldier's Farewell". In ''[[The Parent Trap (1961 film)|The Parent Trap]]'' (1961), the camp director quotes the phrase before sentencing the twins to the isolation cabin together. In Season 5, Episode 20 of ''[[Seinfeld]]'', George quotes the phrase to Jerry after he and his acquaintances saw George's girlfriend, Jane, topless.<ref>{{cite web |url=https://www.seinfeldscripts.com/TheHamptons.htm |website=Seinfeld Scripts|title=The Hamptons }}</ref>

The name of the character Pooh-Bah [[wikt:pooh-bah|has entered the English language]] to mean a person who holds many titles, often a pompous or self-important person.<ref>{{Cite web |title=Pooh-Bah |url=https://www.collinsdictionary.com/dictionary/english/pooh-bah |access-date=1 June 2022 |website=Collins Dictionary}}</ref><ref name=Safire>Safire, William.  [https://books.google.com/books?id=e14JAQAAMAAJ&pg=RA2-PA28 "Whence Poo-Bah"], ''GASBAG'', vol. 24, no. 3, issue 186, January/February 1993, p. 28.</ref> Pooh-Bah is mentioned in [[P. G. Wodehouse]]'s novel ''[[Something Fresh]]'' and in other, often political, contexts.<ref group="n">Another such example is [[Rab Butler|R. A. Butler's]] biography, in which there is a chapter called "The Pooh-Bah Years", when Butler held multiple cabinet portfolios.</ref> In December 2009 BBC presenter James Naughtie, on Radio 4's Today programme, compared UK cabinet member [[Peter Mandelson]] to Pooh-Bah because Mandelson held many offices of state, including Secretary of State for Business, First Secretary of State, Lord President of the Council, President of the Board of Trade, and Church Commissioner, and he sat on 35 cabinet committees and subcommittees. Mandelson replied, "Who is Pooh-Bah?" Mandelson was also described as "the grand Pooh-Bah of British politics" earlier the same week by the theatre critic [[Charles Spencer (journalist)|Charles Spencer]] of ''[[The Daily Telegraph]]''.<ref>Beckford, Martin. {{usurped|1=[https://archive.today/20120915110812/http://www.telegraph.co.uk/news/newstopics/politics/labour/6719480/Lord-Mandelson-likened-to-Pooh-Bah-Lord-High-Everything-Else-in-The-Mikado.html "Lord Mandelson likened to Pooh-Bah, Lord High Everything Else in ''The Mikado''"]}}, ''The Daily Telegraph'', 3 December 2009</ref> In the U.S., particularly, the term has come to describe, mockingly, people who hold impressive titles but whose authority is limited.<ref name="mikado">{{cite web| url = https://www.merriam-webster.com/dictionary/pooh-bah| title = pooh-bah – Definition| access-date = 14 June 2009| work = Merriam-Webster Online Dictionary | publisher = Merriam-Webster Online}}</ref> [[William Safire]] speculated that invention of [[Winnie-the-Pooh]] by the author [[A. A. Milne]] might have been influenced by the character.<ref name=Safire/> The term "[[Grand Poobah]]" has been used on television shows, including ''[[The Flintstones]]'' and  ''[[Happy Days]]'', and in other media, as the title of a high-ranking official in a men's club, spoofing clubs like the [[Freemasonry|Freemasons]], the [[Ancient Arabic Order of the Nobles of the Mystic Shrine|Shriners]], and the [[Benevolent and Protective Order of Elks|Elks Club]].<ref>[http://freemasonry.bcy.ca/fiction/fraternities/buffaloes.html "Loyal Order of Water Buffaloes"] {{webarchive|url=https://web.archive.org/web/20100315062947/http://freemasonry.bcy.ca/fiction/fraternities/buffaloes.html |date=15 March 2010 }}, Grand Lodge Freemasonry site, 8 April 2004, accessed 14 September 2009.  See also {{cite web| url = http://kol.coldfront.net/thekolwiki/index.php/The_Grand_Poo-Bah| title = The Grand Poo-Bah| access-date = 5 May 2010| work = The KoL Wiki| publisher = Coldfront L.L.C}}</ref>

===References to songs in ''The Mikado''===
[[File:LittleShop.jpg|thumb|upright|left|Film poster for ''[[The Little Shop of Horrors]]'' parodying the song "The Flowers that Bloom in the Spring, Tra la!" changing the word "bloom" to "kill"]]
Politicians often use phrases from songs in ''The Mikado''. For example, Conservative [[Peter Lilley]] [[pastiche]]d "As Someday It May Happen" to specify some groups to whom he objected, including "sponging socialists" and "young ladies who get pregnant just to jump the housing queue".<ref name=Green/> Comedian [[Allan Sherman]] also did a variant on the "Little List" song, presenting reasons one might want to seek psychiatric help, titled "You Need an Analyst".<ref>Sherman, Allan. ''[[Allan in Wonderland]]'' (1964) Warner Bros. Records</ref> In a ''[[Eureeka's Castle]]'' Christmas special called "Just Put it on the List", the twins, Bogg and Quagmire, describe what they'd like for Christmas to the tune of the song. A 2024 piece in ''[[The New Republic]]'' quoted the "little list" song from ''The Mikado'' and compared Ko-Ko's little list to [[Kash Patel]]'s threats to use the [[F.B.I.]] and other U.S. government resources to "persecute" [[Donald Trump]]'s "enemies".<ref>Noah, Timothey. [https://newrepublic.com/article/188946/kash-patel-fbi-enemies-list?utm_source=newsletter&utm_medium=email&utm_campaign=tnr_daily "The Who’s Who on Kash Patel’s Crazy Enemies List"], ''[[The New Republic]]'', December 3, 2024</ref> [[Richard Suart]] and A.S.H. Smyth released a book in 2008 called ''They'd none of 'em be missed,'' about the history of ''The Mikado'' and the 20 years of little list parodies by Suart, the [[English National Opera]]'s usual Ko-Ko.<ref>Suart, Richard and Smyth, A.S.H. [http://www.pallasathene.co.uk ''They'd none of 'em be missed''], (2008) Pallas Athene. {{ISBN|978-1-84368-036-9}}.</ref> In [[Isaac Asimov]]'s short story "[[Runaround (story)|Runaround]]" a robot recites some of the song.<ref name=GSVLOC/>

Other songs in ''The Mikado'' have been referenced in [[Cultural influence of Gilbert and Sullivan|films, television and other media]]. For example, the movie poster for ''[[The Little Shop of Horrors]]'' (pictured) parodies the song title "The Flowers that Bloom in the Spring, Tra la!", changing the word "bloom" to "kill".<ref>Stone, Martin. [https://mondomusicals.blogspot.com/2008/02/little-shop-of-horrors-screen-to-stage.html "Little Shop of Horrors&nbsp;– Screen to Stage"]. Mondo Musicals! 14 February 2008, accessed 6 April 2010; and Bord, Chris. [https://earlvilleoperahouse.wordpress.com/tag/the-atlantic-com-article-on-the-mikado "The Atlantic.com article on the ''Mikado''"], Earlville Opera House, 9 August 2014, accessed 31 January 2016</ref> In ''[[The Producers (1968 film)|The Producers]]'', an auditioner for the musical ''Springtime for Hitler'' begins his audition with Nanki-Poo's song, "A wand'ring minstrel I". He is quickly dismissed. In the 2006 film ''[[Brick (film)|Brick]]'', femme fatale Laura ([[Nora Zehetner]]) performs a spoken-word version of "The Sun Whose Rays are All Ablaze" while playing piano. In the 1966 ''[[Batman (TV series)|Batman]]'' episode "The Minstrel's Shakedown", the villain identifies himself as "The Minstrel" by singing to the tune of "A wand'ring minstrel I". In the ''[[Top Cat]]'' episode "All That Jazz", Officer Dibble woefully sings the same song. In ''[[Blackadder Goes Forth]]'' a recording of "A Wand'ring Minstrel I" is played on a gramophone at the beginning of the first episode, and a snatch of the song is also sung by Captain Blackadder in the episode involving "Speckled Jim". "There Is Beauty in the Bellow of the Blast" is performed by [[Richard Thompson (musician)|Richard Thompson]] and [[Judith Owen]] on the album ''[[1000 Years of Popular Music]]''.<ref>{{Cite web |url=http://www.richardthompson-music.com/song_o_matic.asp?id=436 |title=Song-o-matic – There is Beauty |access-date=15 January 2011 |work=BeesWeb – the official site of Richard Thompson |url-status=dead |archive-url=https://web.archive.org/web/20110610050326/http://www.richardthompson-music.com/song_o_matic.asp?id=436 |archive-date=10 June 2011  }}</ref>

The song "[[Three Little Maids from School Are We]]" is featured in the 1981 film ''[[Chariots of Fire]]'', where [[Harold Abrahams]] first sees his future wife dressed as one of the three little maids. Television programmes that have featured the song include the ''[[Cheers]]'' episode "Simon Says" (for which [[John Cleese]] won an [[Emmy Award]]), the ''[[Frasier]]'' episode "Leapin' Lizards", the ''[[Angel (1999 TV series)|Angel]]'' episode "Hole in the World", ''[[The Simpsons]]'' episode "[[Cape Feare]]",<ref>Jean, Al. (2004). Commentary for "Cape Feare", in ''The Simpsons: The Complete Fifth Season'' [DVD]. 20th Century Fox</ref> ''[[The Suite Life of Zack & Cody]]'' episode "Lost in Translation", and ''The [[Animaniacs]] Vol. 1'' episode "Hello Nice Warners". The [[Capitol Steps]] performed a parody titled "Three Little Kurds from School Are We". On the ''[[The Dinah Shore Chevy Show|Dinah Shore Show]]'', Shore sang the song with [[Joan Sutherland]] and [[Ella Fitzgerald]] in 1963.<ref name=Pasa/><ref>[http://www.tv.com/shows/the-dinah-shore-chevy-show/march-17-1963-980728/ "''The Dinah Shore Chevy Show'', March 17, 1963 (Season 7, episode 7)"] {{Webarchive|url=https://web.archive.org/web/20150113233822/http://www.tv.com/shows/the-dinah-shore-chevy-show/march-17-1963-980728/ |date=13 January 2015 }}, TV.com, accessed 21 April 2012</ref>

References to "Tit-Willow" ("On a tree by a river") have included [[Allan Sherman]]'s comedy song "The Bronx Bird Watcher", about a [[Yiddish]]-accented bird whose beautiful singing leads to a sad end.<ref>Sherman, Allan. ''[[My Son, the Celebrity]]'' (1963) [[Warner Bros. Records]]</ref> On ''The [[Dick Cavett]] Show'', Groucho Marx and Cavett sang the song. Groucho interrupted the song to quiz the audience on the meaning of the word "obdurate".<ref name=Pasa/> A Season 1 episode of ''[[The Muppet Show]]'' (aired on 22 November 1976) featured [[Rowlf the Dog]] and [[Sam Eagle]] singing the song, with Sam clearly embarrassed at having to sing the word '[[Breast|tit]]' (also asking the meaning of "obdurate"). In the film ''[[Whoever Slew Auntie Roo?]]'', [[Shelley Winters]] as the title character sings the song just before she is murdered.<ref>Shimon, Darius Drewe. [http://www.britmovie.co.uk/2009/12/21/whoever-slew-auntie-roo-1971/ "Whoever Slew Auntie Roo? (1971)"] {{webarchive|url=https://web.archive.org/web/20100409224553/http://www.britmovie.co.uk/2009/12/21/whoever-slew-auntie-roo-1971/ |date=9 April 2010 }}, Britmovie.co.uk, 21 December 2009</ref> In [[John Betjeman]]'s documentary film ''[[Metro-Land (1973 film)|Metro-Land]]'' (1973), the song is heard as Betjeman, looking over the lake at [[Grim's Dyke]], laments W. S. Gilbert's sudden death in 1911.<ref>{{cite book|title=The Best of Betjeman|editor-first=John|editor-last=Guest|edition=2000|publisher=[[Penguin Books]]|page=227}}</ref>
<!--NOTE: When adding to this list, please provide the date and episode name where the reference was used or if a film, then the description of the scene. Provide bibliographic references. See [[WP:IPC]] and [[WP:RS]]. Please try to place your reference under an appropriate heading above. -->

==Notes and references==
===Notes===
{{Reflist|group=n}}

===References===
{{Reflist}}

==Sources==
* {{cite book|last=Ainger|first=Michael|year=2002|title=Gilbert and Sullivan, a Dual Biography|location=Oxford|publisher=Oxford University Press|isbn=978-0-19-514769-8}}
* {{cite book|last=Allen|first=Reginald|year=1975|title=The First Night Gilbert and Sullivan|location=London|publisher=Chappell & Co. Ltd}}
* {{cite book|last=Baily|first=Leslie|year=1952|title=The Gilbert & Sullivan Book|url=https://archive.org/details/gilbertsullivanb0000bail|url-access=registration|location=London|publisher=Cassell & Company Ltd}}
* {{cite book|last=Benford|first=Harry|year=1999|title=The Gilbert & Sullivan Lexicon, 3rd Revised Edition|location=Ann Arbor, Michigan|publisher=The Queensbury Press|isbn =978-0-9667916-1-7}}
*{{cite book| last = Bradley | first = Ian| title= The Complete Annotated Gilbert and Sullivan| publisher = Oxford University Press | year = 1996 }}
*{{Cite book | last = Bradley | first = Ian | title = Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan | location = New York | publisher = Oxford University Press | year = 2005 | isbn = 0-19-516700-7 | url = https://archive.org/details/ohjoyohraptureen00brad }}
* {{cite book|last=Cellier|first=François|author2=Cunningham Bridgeman|year=1914|title=Gilbert, Sullivan, and D'Oyly Carte|location=London|publisher=Sir Isaac Pitman & Sons}}
* {{cite book|last=Dark|first=Sidney|author-link = Sidney Dark|author2=Rowland Grey|year=1923|title=W. S. Gilbert: His Life and Letters|url=https://archive.org/details/wsgilberthislife0000dark|publisher=Methuen & Co. Ltd}}
* {{cite book|last= Faris |first= Alexander |author-link=Alexander Faris|year= 1980|title= Jacques Offenbach |location= London |publisher=Faber & Faber |isbn= 978-0-571-11147-3}}
* {{usurped|1=[https://web.archive.org/web/20080309000717/http://www.sullivan-forschung.de/fink.htm Fink, Robert. "Rhythm and Text Setting in ''The Mikado''", ''19th Century Music'', vol. XIV No. 1, Summer 1990]}}
* {{cite book|last=Fitzgerald|first=Percy Hetherington|year=1899|title=The Savoy Opera and the Savoyards|url=https://archive.org/details/savoyoperaandsa00fitzgoog|location=London|publisher=Chatto & Windus}} This book is [https://archive.org/details/bub_gb_EhkjAAAAMAAJ available online at Internet Archive.] Retrieved on 2007-06-10.
* {{cite book|last=Gänzl|first=Kurt|year=1995|title=Gänzl's Book of the Broadway Musical: 75 Favorite Shows, from H.M.S. Pinafore to Sunset Boulevard|publisher=Schirmer|isbn=0-02-870832-6|url=https://archive.org/details/gnzlsbookofbro00gn}}
* {{cite book|last=Gilbert|first=W. S.|year=1921|title=The Story of the Mikado|url=https://archive.org/details/cu31924013457803|location=London|publisher=Daniel O'Connor, 90 Great Russell Street}}
* {{cite book| last=Gilbert |first=William Schwenck |url=https://archive.org/details/mikado00sull | url-access=registration | page=[https://archive.org/details/mikado00sull/page/9 9] |title=The Mikado| editor= Philip Smith |publisher=Dover |year= 1992 |isbn= 978-0-486-27268-9}}
* {{cite book| editor=Green, Martyn| title=Martyn Green's Treasury of Gilbert and Sullivan| publisher = Michael Joseph |year=1961}} 
* {{cite book|last=Hughes|first=Gervase|year=1960|title=The Music of Arthur Sullivan|url=https://archive.org/details/musicofarthursul006476mbp|location=London|publisher=Macmillan}}
* {{cite book|last=Jacobs|first=Arthur|year=1984|title=Arthur Sullivan: A Victorian Musician|url=https://archive.org/details/arthursullivanvi00jaco|url-access=registration|location=Oxford|publisher=Oxford University Press|isbn=978-0-19-315443-8}}
* {{cite journal|last=Jones|first=Brian|date=Spring 1985|title=The sword that never fell|journal=W. S. Gilbert Society Journal|volume=1|issue=1|pages=22–25}}
* {{cite journal|last=Jones|first=Brian|date=Winter 2007|title=Japan in London 1885|journal=W. S. Gilbert Society Journal|issue=22|pages=686–96}}
*{{Cite book|last=Joseph|first=Tony|year=1994|title=D'Oyly Carte Opera Company, 1875–1982: An Unofficial History|location=London|publisher=Bunthorne Books}} {{ISBN|0-9507992-1-1}}
* {{cite book|last=Macmillan|first=Ernest|year=1997|title=MacMillan on music: essays on music |url=https://archive.org/details/macmillanonmusic0000macm|url-access=registration|location=London |publisher=Dundurn Press |isbn= 1-55002-2857}}
* {{cite book|last=Rollins|first=Cyril|year=1962|author2=R. John Witts|title=The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961|location=London|publisher=Michael Joseph}} Also, five supplements, privately printed.
* {{cite journal|last=Seeley|first=Paul|date=August 1985|title=The Japanese March in 'The Mikado'|journal=The Musical Times|volume=126|issue=1710|pages=454–456|doi=10.2307/964306|publisher=The Musical Times, Vol. 126, No. 1710|jstor=964306}}
* {{cite book|last=Traubner|first=Richard|year=2003|edition=2nd|title=Operetta: a theatrical history| location=London| publisher=Routledge |isbn=0-415-96641-8}}
* {{cite book|last=Williams|first=Carolyn|year=2010|title=Gilbert and Sullivan: Gender, Genre, Parody|location=New York|publisher=Columbia University Press|isbn=978-0-231-14804-7}}
* {{cite book|last=Wilson|first=Robin|author2=Frederic Lloyd|year=1984|title=Gilbert & Sullivan: The Official D'Oyly Carte Picture History|url=https://archive.org/details/gilbertsullivano00wils|url-access=registration|location=New York|publisher=Alfred A. Knopf, Inc|isbn=9780394541136}}

==Further reading==
* {{cite journal |last=Beckerman |first=Michael |year=1989|title=The Sword on the Wall: Japanese Elements and Their Significance in ''The Mikado''|journal=The Musical Quarterly|volume=73|issue=3|pages=303–319 |doi=10.1093/mq/73.3.303}}
* Lee, Josephine.  ''The Japan of Pure Invention: Gilbert & Sullivan's 'The Mikado'''. University of Minnesota Press, 2010. {{ISBN|978-0-8166-6580-8}}.

==External links==
{{Commons category|The Mikado}}
{{wikisource|The Mikado|''The Mikado''}}
* [https://www.gsarchive.net/mikado/html/index.html''The Mikado'' at The Gilbert & Sullivan Archive]
* [https://www.gsarchive.net/mikado/webopera/index.html ''Mikado'' "Web Opera" with libretto and MIDI files.]
* {{usurped|1=[https://web.archive.org/web/20100105033554/http://www.musicals101.com/gilbert3.htm Discussion of ''The Mikado'' at Musicals101.com]}}
* {{usurped|1=[https://web.archive.org/web/20070929210059/http://ourworld.compuserve.com/homepages/SGee/ Description of production history and modern Australian productions]}}
* {{usurped|1=[https://web.archive.org/web/20061029085114/http://www.lyricoperasandiego.com/Education/MikadoGenesis.htm Article on the genesis of ''The Mikado'']}}
* {{usurped|1=[https://web.archive.org/web/20110928132115/http://www.gabrielleray.150m.com/ArchivePressText/20021221.html 1885 review of ''The Mikado'' in "The Entr'acte"]}}.
* {{usurped|1=[https://web.archive.org/web/20050404105454/http://www.hostultra.com/~daisybtoes/koko.html ''Koko's Korner'': A website dedicated almost entirely to the character of Ko-Ko in ''The Mikado'']}}
* {{usurped|1=[https://web.archive.org/web/20090524174741/http://www.vam.ac.uk/collections/theatre_performance/objects_theatre_performance/doyly_carte/index.html D'Oyly Carte Prompt Books]}} at The Victoria and Albert Museum
* [https://www.eno.org/discover-opera/operas/an-introduction-to-the-mikado/ An Introduction to ''The Mikado'' from the English National Opera]
* {{usurped|1=[https://web.archive.org/web/20060924084037/http://www.amiright.com/parody/performers/g/gilbertsullivan.shtml Page linking to ''Mikado'' song parodies]}}
* {{FadedPage|id=20161115|name=The Story of the Mikado}}
* {{librivox book | title=The Mikado | author=W. S. GILBERT}}

{{The Mikado}}
{{Gilbert and Sullivan}}
{{W. S. Gilbert}}
{{Arthur Sullivan}}
{{Authority control}}

{{DEFAULTSORT:Mikado, The}}
[[Category:Operas by Gilbert and Sullivan]]
[[Category:English-language operas]]
[[Category:Operas]]
[[Category:English comic operas]]
[[Category:1885 operas]]
[[Category:Japan in non-Japanese culture]]
[[Category:Operas set in Japan]]
[[Category:Operas adapted into films]]
[[Category:Race-related controversies in opera]]