A classic in the catalogue of Victorian-era musical duo Gilbert and Sullivan, a new incarnation of THE MIKADO delivers comic spectacle and the stage debut of a reality television finalist, as reviewed by SEANNA VAN HELTEN.

Remember that episode of The Simpsons where Bart stalls a murderous Sideshow Bob by asking him to sing the works of Gilbert and Sullivan? While there are cynics for whom such a recital would be a fate worse than death, the joke succeeds because there are just as many fans who would gladly sing along. Love them or loath them, the duo of Gilbert and Sullivan pioneered comic opera and, over a century after they were first produced, shows such as The Pirates of Penzance, HMS Pinafore and, of course, The Mikado (written in 1885) still fill major musical theatre venues.

This new production of The Mikado, by Gilbert and Sullivan fan Simon Gallaher, updates the classic comic opera with contemporary verve, casting Australian comedians Colin Lane and David Collins in key roles and amping up the camp characterisation.

A lovesick wandering minstrel called Nanki-Poo (So You Think You Can Dance contestant Graeme Isaako) arrives in the fictitious Japanese town of Titipu, searching for his crush, Yum-Yum (Helen Donaldson). However, Yum-Yum is inconveniently engaged to Ko-Ko (one half of the Umbilical Brothers, David Collins), the current Lord High Executioner of Titipu.

Meanwhile Japan’s ruler, the eponymous Mikado (a buff David Gould), sends notice he will soon arrive in Titipu to ensure the enforcement of his rather severe decree that flirting is punishable by death. Convicted flirt Ko-Ko and his sidekick Pooh-Bah (Colin Lane, of Lano and Woodley fame), begin to panic until the heartbroken Nanki-Poo offers himself as a substitute. And then the narrative’s twists and turn begin…

Bowing out of SYTYCD, Isaako promised he would return as a "triple threat" – a dancer slash singer slash actor. The Mikado is a good gig for showcasing all three talents; Isaako is an excellent dancer, his singing voice is surprisingly good, and his acting is satisfactory. Isaako’s romantic foil is the sweet Donaldson as Yum-Yum, and the lovers’ earnestness is contrasted (and overshadowed) by the hammy performances of Gould’s Mikado and Australian singing legend Julie Anthony as Nanki-Poo’s jilted betrothed, Katisha.

But the outstanding stars of this production are comedians Lane and Collins, who heighten the show’s energy, playing off one another’s comedic shtick – that is, Lane’s deadpan self-aggrandisement and Collins’ slapstick and sound-effects bit. Lane and Collins also drag what might be outdated satirical references into a contemporaneous sphere, lacing the script with popular references and localised quips about Coochiemudlo and the parking at QPAC. Collins’ expertly cowardly Ko-Ko is especially a treat, and his renditions of well-known tunes As Some Day It May Happen and Willow, Tit-Willow were obvious crowd favourites.

The production’s design by Graham Maclean is grossly yet wonderfully ridiculous. Seeming to avoid the stereotypes of Japanese dress, Maclean’s costumes overstep all semblance of reality to become an identifiable jumble of garish, oriental-inspired cartoons.

The plot is over-the-top, the scenery is silly, and yet the irreverent cast members simultaneously appear to have a ball on stage while carefully avoiding to take themselves too seriously. This is the basis of the whole show’s accomplishment: it is just so cheerfully daggy.

But in the second act, some of the jokes wear thin and the energy lags until the exuberant finale – at this point it’s hard to tell whether the show’s length (the real success of Bart Simpson’s plan) is another area due for an update or whether Gallaher’s tribute production went overboard.

THE MIKADO plays at the Lyric Theatre, Queensland Performing Arts Centre, until August 24. Tickets are available through Qtix 136 246 or www.qtix.com.au.

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