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He sees a beautiful young lady at school, falls in love with her, and follows her to Titipu, where she arrives, to become the ward of the Lord High Executioner - a tender hearted creature condemned to death for flirting. The conspirators are condemned to a death in which "boiling oil or melted lead" has something to do for compassing the destruction of the heir to the throne. Thus there are only two pieces of "barbaric" harmony in the work. A finite amount of human activity could result in a Hothouse Earth from which there is no return. The band made one or two slips, and more than one of the chief performers did not know their work, or did not take the usual amount of trouble about it. The scoring is one of the most noteworthy pleasures that the musical bearer will find. In a dramatic and musical sense it holds a medium position, being scarcely as good as The Sorcerer and The Pinafore, and certainly infinitely better than Iolanthe or Princess Ida. The "local colouring" which might be expected in a work dealing with a people whose musical scale is divided into twenty-three portions instead of our chromatic thirteen, has been sparingly used.

On the other hand, the music which Sir Arthur Sullivan has supplied for the work deserves to be ranked among his happiest efforts. To sum up, The Mikado is likely to hold its own among the series of pretty and enjoyable operettas which we owe to Mr. Gilbert and Sir Arthur Sullivan. That in other places the ingenuity even of Sir Arthur Sullivan fails to establish any rapport between music and words is not a matter for surprise. And, again, where Katisha, conscious of her super-annuated charms, describes herself as "an acquired taste." In other places the line between genuine fun and a mere tickling of the ears of the groundlings is not sufficiently observed, as, for example, where the same lady, speaking of the irresistible fascination of her right elbow, adds, "It is on view Tuesdays and Fridays on presentation of visiting card." This is far-fetched and common at the same time. As these, more over, have been attacked over and over again, alike by Mr. Gilbert and other so-called moral comic writers, it can scarcely be said that this new piece, as far as the book is concerned, contains anything strikingly novel or original. Hugh Shepley adds to the list of books mentioning Juggling.-- "Circus" by Paul Eipper, published by Viking Press, N.Y., 1931. Contains a half-page description of Enrico Rastelli's act, mentioning his torch juggling particularly.

The most ambitious number of the score is at the end of the first act, a very long piece, designed on the model of the orthodox operatic finale. Very graceful is the female chorus and trio, "Comes a train of little ladies" in the first act, while the duet between Yum-Yum and her lover, which follows soon after, is, by way of contrast, as feeble as can well be imagined. Second: a little nifty that could make a swell encore stunt for a comedy act. The sixth Willy who is in the army, was on furlough from his camp in Texas, so went into the audience to catch the act with him and his wife. As another among many instances of genuine vis comica we may cite a trio for male voices towards the end of the first act. The hat was first identified by non-professional mathematician and "shape hobbyist" David Smith from the UK. All these elements were apparent on the first night of the representation at the Savoy theatre on March 14th, when the first performance, conducted by the composer, was given. The managers of the theatre pride themselves upon the care with which all their former productions have been given on the opening nights.

It has been publicly stated that the authors have called in the assistance of certain of the inhabitants of the Japanese village now at Knightsbridge, to help them in giving vraisemblance to certain stage gestures, postures and effects. As a piece of stage show it is, perhaps, the best of all. As to the success of the piece there can be no doubt after its reception on Saturday night. The second piece is the chorus of welcome sung when the Mikado appears. The ear is not bored with choruses or songs constructed out of the Japanese scale which could only be sung in the Japanese manner, accompanied by that pleasant combination of mewing, squalling in falsetto voice, and thumping on a flabby drum, which the popular mind has learned to accept as the perfection of expression both Japanese and its ally Chinese music. The inevitable "old English" madrigal (sung by Japanese!) is not wanting. They resemble the poet in the famous parable, which, being told indifferently of Japan and China, may fitly conclude this notice of a Japanese opera. This is a low reverential grumble uttered to words which may possibly be Japanese.

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