Gilbert & Sullivan isn’t everyone's cup of tea, but for me it’s all about having a pop at society, with more than a little irreverence, a bit of naughtiness and a lot of fun thrown in for good measure – and ABOS’s rendition of this favourite has all of those ingredients in good measure, writes Andrew Powell.

Comic opera The Mikado revolves around a young fellow, Nanki-Poo, who has banished himself from the small town of Titipu.

Nanki-Poo has fallen in love with a beautiful young lady called Yum-Yum, who unfortunately is engaged to be married to her guardian, the tailor Ko-Ko.

So far so good? All the emotional ups and downs of course lead to the eventual happy ending (for most) that audiences so yearn for, with a jolly score and endearing songs to lead the way.

I would say of particular enjoyment were the extremely funny re-writing of two of the songs to take in modern events and people.

With references to Prince Philip’s recent car smash, celebrities who rise to fame on TV shows, Piers Morgan, Trump, Putin and Kim Jong Un (and who had the biggest knob – of the nuclear type I think!) the List Song was absolutely hilarious and incredibly well executed by Ian Walton as Ko-Ko.

Meanwhile, The Mikado song with its references to the current political situation (yes, Brexit and the EU) was an equally witty addition.

The sound production throughout the show was excellent, and although the radio mikes make an incredible difference to the modern-day performance, meaning that you can always hear every word as sharp as a knife, you do have to have a cast with great voices in the first place, and ABOS have these in plentiful supply.

Old Society hand (and powerful voice Walton) was the rock upon which the show was built – his List Song was absolutely epic and he turned in an exceptionally professional and commanding performance as Ko-Ko.

Newcomer and youngster Matthew Street showed great promise and confidence as the somewhat naïve Nanki-Poo, while love interest Yum-Yum was ably performed throughout by Beth Smith, whose commanding but crystal clear vocals were a power to be reckoned with.

I must put in a mention also for veteran G&S performer, Paul Thompson, whose Pooh-Bah was authoritative, strong and extremely endearing.

According to the programme he has taken principal roles in more than 60 productions, mainly Gilbert & Sullivan, and I can certainly believe that as he owned that stage.

Often overlooked are those cooped up in the orchestra pit, and Mike Dhonau’s expertly led ensemble were truly remarkable from beginning to end.

This was another magical and really enjoyable show, so a big congratulations go to Director Bev Hatton and all involved, too many to mention but all of whom made this a show to be very proud of.