“The Chorus of Men has a full-bodied sound that thrills”

“a truly stunning production”

“There are some splendid comic touches particularly from Fenton Gray's eyes rolling
adroit Ko Ko”

“The best singing comes from Charlotte Page's ringing and witty Yum Yum”

“(Nichola McAuliffe) is a magnificent recruit to G&S”

“...lively conductor Martin Handley, guided the company back to Gilbertian crispness and Sullivanian classical pastiche...”

“What was truly and refreshingly authentic about the performance, however, was its scale and honesty. In a medium-sized theatre, with a proper pit orchestra, crisply conducted by Martin Handley, there was no need for any amplification, and the words came across with a refreshing directness and naturalness. If only modern musicals would follow suit.”

“...on a grey winter's night you'd have to be a very sad, uptight person indeed not to sit back and enjoy such unpretentious old-fashioned entertainment.”

“Director Peter Mulloy should be congratulated...it has pace, humour, ornate costumes and bright colourful settings...casting Alistair McGowan is a masterstroke and his Mikado of Japan is a joyous amalgam.”

“The Carl Rosa Production, with its replica 1885 costumes and settings in similar style, is both period-conscious and of today. It moves at a great pace musically, too, with Martin Handley conducting.”

“Oliver White (Nanki-Poo) is a splendid romantic tenor lead, and Charlotte Page an artfully Victorian heroine as Yum-Yum.”

“this production is fresh and lively, driven by a cast that blends experience with exciting young talent…Oliver White, a golden-voiced tenor with top notes to die for, is rapidly establishing himself as an outstanding exponent of the G&S canon, and here adds Nanki-Poo to his growing portfolio, imbuing the role with his customary artistic integrity – every expression, every inflexion and every nuance exactly right”

“This is a gem of a Mikado; a glittering jewel that makes all other productions seem but cheap imitations”

“The impeccably trained chorus invariable sang with sense and style. So, too did the pert and pretty ‘Three little maids from school’, whose seeming effortless ensemble singing belied the painstaking rehearse needed to achieve such vocal finesse”

“...The reborn Carl Rosa Opera Company has gone back to the version its founder would have known when the show was first presented by the Savoy Opera in 1885...why not trust Gilbert and Sullivan and go back to the original text?

The result, on this occasion, was hugely popular…infectiously entertaining... and you could hardly be truer to the shades of Gilbert and Sullivan than that...”

“At last we have a professional company that can champion operetta once again... Carl Rosa has a bright future ahead of them... Streets ahead of it’s competitors in terms of purpose and craftsmanship.”