Topsy-Turvy

In January 1884, the highly anticipated opening night of *Princess Ida* takes place at the Savoy Theatre. Renowned composer Sir Arthur Sullivan is suffering from kidney disease and struggles to arrive on time to conduct this significant event.

In an effort to improve his health, Sullivan decides to take some time off on the continent following the opening night of *Princess Ida*. However, his absence results in dwindling ticket sales and attendance at the Savoy Theatre, compounding the pressure on producer Richard D'Oyly Carte.

With Sullivan on holiday and the new production not ready, producer Richard D'Oyly Carte faces a dilemma. He has called upon both Sullivan and dramatist W. S. Gilbert for a new work, but with *Princess Ida* wrapping up, he decides to revive an earlier Gilbert and Sullivan collaboration, *The Sorcerer*.

As Gilbert begins to create a new opera, he proposes a concept involving a magical lozenge. Sullivan, however, is reluctant, feeling that it closely mirrors their previous works and prefers something with more human interest, leading to a creative standstill between the two.

The friction between Gilbert and Sullivan is broken when they attend an exhibition of Japanese arts and crafts. An unexpected incident occurs when a katana sword falls from the wall, igniting Gilbert's imagination and leading him to create a libretto set in exotic Japan.

With Gilbert's new Japanese-themed idea, Sullivan is inspired and excited to compose the music for the libretto. This marks a turning point for both artists as they begin to collaborate on what will become one of their most famous works, *The Mikado*.

As the trio of Gilbert, Sullivan, and Carte dives into the preparations for *The Mikado*, the atmosphere becomes bustling with activity. Rehearsals begin, cast members negotiate their salaries, and plans are made to ensure that the new opera is a hit.

Seeking authenticity for the ladies' chorus, Gilbert enlists the help of Japanese girls from the exhibition to teach the cast movements and fan techniques. This important step adds depth and realism to the upcoming performance.

The main cast of *The Mikado* undergoes exciting costume fittings designed by the talented C. Wilhelm. These extraordinary costumes play a crucial role in bringing the characters and the Japanese setting to life on stage.

Tension mounts within the cast regarding Gilbert's decision on a cut for the Act Two solo, “A more humane Mikado.” After a spirited discussion, Gilbert ultimately agrees to restore the solo, satisfying the cast's concerns just before the premiere.

As the premiere night draws near, the actors experience a wave of nerves back in their dressing rooms. Gilbert, overwhelmed by anxiety, opts to pace outside rather than watch the performance, a familiar behavior during high-stress moments.

Finally, all the hard work culminates as *The Mikado* premieres to an eager audience. After a suspenseful waiting period, Gilbert returns to the theatre to learn that the show has received a rousing reception.

The premiere of *The Mikado* turns out to be a major success, solidifying the collaboration between Gilbert and Sullivan. This achievement marks a significant moment in the history of operetta and their artistic partnership.