The Mikado

• Courtyard of Ko-Ko's Official Residence

Ko-Ko – 1926 costume design by Charles Ricketts

Gentlemen of the fictitious Japanese town of Titipu are gathered ("If you want to know who we are"). A handsome but poor minstrel, Nanki-Poo, arrives and introduces himself ("A wand'ring minstrel I"). He inquires about his beloved, a schoolgirl called Yum-Yum, who is a ward of Ko-Ko (formerly a cheap tailor). One of the gentlemen, Pish-Tush, explains that when the Mikado decreed that flirting was a capital crime, the Titipu authorities frustrated the decree by appointing Ko-Ko, a prisoner condemned to death for flirting, to the post of Lord High Executioner ("Our great Mikado, virtuous man"). As Ko-Ko was the next prisoner scheduled to be decapitated, the town authorities reasoned that he could "not cut off another's head until he cut his own off", and since Ko-Ko was not likely to try to execute himself, no executions could take place. However, all of the town's officials except the haughty nobleman, Pooh-Bah, proved too proud to serve under an ex-tailor, and they resigned. Pooh-Bah now holds all their posts and collects all their salaries. Pooh-Bah informs Nanki-Poo that Yum-Yum is scheduled to marry Ko-Ko on the very day that he has returned ("Young man, despair").

Ko-Ko enters ("Behold the Lord High Executioner") and asserts himself by reading off a list of people "who would not be missed" if they were executed ("As some day it may happen"), such as people "who eat peppermint and puff it in your face". Yum-Yum appears with Ko-Ko's other two wards, Peep-Bo and Pitti-Sing ("Comes a train of little ladies", "Three little maids from school"). Pooh-Bah does not think that the girls have shown him enough respect ("So please you, sir"). Nanki-Poo arrives and informs Ko-Ko of his love for Yum-Yum. Ko-Ko sends him away, but Nanki-Poo manages to meet with his beloved and reveals his secret to Yum-Yum: he is the son and heir of the Mikado, but travels in disguise to avoid the amorous advances of Katisha, an elderly lady of his father's court. They lament that the law forbids them to flirt ("Were you not to Ko-Ko plighted").

Ko-Ko and Pooh-Bah receive news that the Mikado has just decreed that unless an execution is carried out in Titipu within a month, the town will be reduced to the rank of a village, which would bring "irretrievable ruin". Pooh-Bah and Pish-Tush point to Ko-Ko himself as the obvious choice for beheading, since he was already under sentence of death ("I am so proud"). Ko-Ko argues, however, that, firstly, it would be "extremely difficult, not to say dangerous", for someone to attempt their own beheading, and secondly, it would be suicide, which is a capital offence. Fortuitously, Ko-Ko discovers that Nanki-Poo, in despair over losing Yum-Yum, is preparing to commit suicide. After ascertaining that nothing would change Nanki-Poo's mind, Ko-Ko makes a bargain with him: Nanki-Poo may marry Yum-Yum for one month if, at the end of that time, he allows himself to be executed. Ko-Ko would then marry the young widow.

Everyone arrives to celebrate Nanki-Poo and Yum-Yum's union ("With aspect stern and gloomy stride"), but the festivities are interrupted by the arrival of Katisha, who has come to claim Nanki-Poo as her husband. However, the townspeople are sympathetic to the young couple, and Katisha's attempts to reveal Nanki-Poo's secret are drowned out by the shouting of the crowd. Outwitted but not defeated, Katisha makes it clear that she intends to get vengeance.

• Ko-Ko's Garden.

Yum-Yum is being prepared by her friends for her wedding ("Braid the raven hair"), after which she muses on her own beauty ("The sun whose rays"). Pitti-Sing and Peep-Bo return to remind her of the limited duration of her impending union. Joined by Nanki-Poo and Pish-Tush, they try to keep their spirits up ("Brightly dawns our wedding-day"), but soon Ko-Ko and Pooh-Bah enter to inform them of a twist in the law that states that when a married man is beheaded for flirting, his wife must be buried alive ("Here's a how-de-do"). Yum-Yum is unwilling to marry under these circumstances, and so Nanki-Poo challenges Ko-Ko to behead him on the spot. It turns out, however, that the soft-hearted Ko-Ko has never executed anyone and cannot execute Nanki-Poo. Ko-Ko instead sends Nanki-Poo and Yum-Yum away to be wed (by Pooh-Bah, as Archbishop of Titipu), promising to present to the Mikado a false affidavit in evidence of the fictitious execution.

"His teeth, I've enacted,
Shall all be extracted
By terrified amateurs."
(Cartoon by W. S. Gilbert)

The Mikado and Katisha arrive in Titipu accompanied by a large procession ("Mi-ya Sa-Ma", "From Every Kind of Man"). The Mikado describes his system of justice ("A more humane Mikado"). Ko-Ko assumes that the ruler has come to see whether an execution has been carried out. Aided by Pitti-Sing and Pooh-Bah, he graphically describes the supposed execution ("The criminal cried") and hands the Mikado the certificate of death, signed and sworn to by Pooh-Bah as coroner. Ko-Ko notes slyly that most of the town's important officers (that is, Pooh-Bah) were present at the ceremony. However, the Mikado has come about an entirely different matter; he is searching for his son. When they hear that the Mikado's son "goes by the name of Nanki-Poo", the three panic, and Ko-Ko says that Nanki-Poo "has gone abroad". Meanwhile, Katisha is reading the death certificate and notes with horror that the person executed was Nanki-Poo. The Mikado, though expressing understanding and sympathy ("See How the Fates"), discusses with Katisha the statutory punishment "for compassing the death of the heir apparent" to the Imperial throne – something lingering, "with boiling oil ... or melted lead". With the three conspirators facing painful execution, Ko-Ko pleads with Nanki-Poo to reveal himself to his father. Nanki-Poo fears that Katisha will demand his execution if she finds he is alive, but he suggests that if Katisha could be persuaded to marry Ko-Ko, then Nanki-Poo could safely "come to life again", as Katisha would have no claim on him ("The flowers that bloom in the spring"). Though Katisha is "something appalling", Ko-Ko has no choice: it is marriage to Katisha, or a painful death for himself, Pitti-Sing and Pooh-Bah.

Ko-Ko finds Katisha mourning her loss ("Alone, and yet alive") and throws himself on her mercy. He begs for her hand in marriage, saying that he has long harboured a passion for her. Katisha initially rebuffs him, but is soon moved by his story of a bird who died of heartbreak ("Tit-willow"). She agrees ("There is beauty in the bellow of the blast") and, once the ceremony is performed (by Pooh-Bah, the Registrar), she begs for the Mikado's mercy for him and his accomplices. Nanki-Poo and Yum-Yum then reappear, sparking Katisha's fury. The Mikado is astonished that Nanki-Poo is alive, as the account of his execution had been given with such "affecting particulars". Ko-Ko explains that when a royal command for an execution is given, the victim is, legally speaking, as good as dead, "and if he is dead, why not say so?"[n 3] The Mikado deems that "Nothing could possibly be more satisfactory", and everyone in Titipu celebrates ("For he's gone and married Yum-Yum").

• 1. "If you want to know who we are" (Chorus of Men)
• 2. "A Wand'ring Minstrel I" (Nanki-Poo and Men)
• 3. "Our Great Mikado, virtuous man" (Pish-Tush and Men)
• 4. "Young man, despair" (Pooh-Bah, Nanki-Poo and Pish-Tush)
• 4a. Recit., "And have I journey'd for a month" (Pooh-Bah, Nanki-Poo)
• 5. "Behold the Lord High Executioner" (Ko-Ko and Men)
• 5a. "As some day it may happen" (Ko-Ko and Men)
• 6. "Comes a train of little ladies" (Girls)
• 7. "Three little maids from school are we" (Yum-Yum, Peep-Bo, Pitti-Sing, and Girls)
• 8. "So please you, Sir, we much regret" (Yum-Yum, Peep-Bo, Pitti-Sing, Pooh-Bah, and Girls)[n 4]
• 9. "Were you not to Ko-Ko plighted" (Yum-Yum and Nanki-Poo)
• 10. "I am so proud" (Pooh-Bah, Ko-Ko and Pish-Tush)
• 11. Finale Act I (Ensemble)
  • "With aspect stern and gloomy stride"
  • "The threatened cloud has passed away"
  • "Your revels cease!" ... "Oh fool, that fleest my hallowed joys!"
  • "For he's going to marry Yum-Yum"
  • "The hour of gladness" ... "O ni! bikkuri shakkuri to!"
  • "Ye torrents roar!"

Theatre poster, Edinburgh, 1885

• 12. "Braid the raven hair" (Pitti-Sing and Girls)
• 13. "The sun whose rays are all ablaze" (Yum-Yum) (Originally in Act I, moved to Act II shortly after the opening night)
• 14. Madrigal, "Brightly dawns our wedding day" (Yum-Yum, Pitti-Sing, Nanki-Poo and Pish-Tush)
• 15. "Here's a how-de-do" (Yum-Yum, Nanki-Poo and Ko-Ko)
• 16. "Mi-ya Sa-ma"[22] "From every kind of man obedience I expect" (Mikado, Katisha, Chorus)
• 17. "A more humane Mikado" (Mikado, Chorus) (This song was nearly cut, but was restored shortly before the first night.)
• 18. "The criminal cried as he dropped him down" (Ko-Ko, Pitti-Sing, Pooh-Bah, Chorus)
• 19. "See how the Fates their gifts allot" (Mikado, Pitti-Sing, Pooh-Bah, Ko-Ko and Katisha)
• 20. "The flowers that bloom in the spring" (Nanki-Poo, Ko-Ko, Yum-Yum, Pitti-Sing, and Pooh-Bah)
• 21. Recit. and song, "Alone, and yet alive" (Katisha)
• 22. "On a tree by a river" ("Willow, tit-willow") (Ko-Ko)
• 23. "There is beauty in the bellow of the blast" (Katisha and Ko-Ko)
• 24. "Finale Act II" (Ensemble)
  • "For he's gone and married Yum-Yum"
  • "The threatened cloud has passed away"

Ko-Ko reveals that when a man is beheaded, his wife is buried alive: from Gilbert's children's book The Story of the Mikado. Art by Alice B. Woodward.

The Mikado is a comedy that deals with themes of death and cruelty. This works only because Gilbert treats these themes as trivial, even lighthearted issues. For instance, in Pish-Tush's song "Our great Mikado, virtuous man", he sings: "The youth who winked a roving eye / Or breathed a non-connubial sigh / Was thereupon condemned to die – / He usually objected." The term for this rhetorical technique is meiosis, a drastic understatement of the situation. Other examples of this are when self-decapitation is described as "an extremely difficult, not to say dangerous, thing to attempt", and also as merely "awkward". When a discussion occurs of Nanki-Poo's life being "cut short in a month", the tone remains comic and only mock-melancholy. Burial alive is described as "a stuffy death". Finally, execution by boiling oil or by melted lead is described by the Mikado as a "humorous but lingering" punishment.

Death is treated as a businesslike event in Gilbert's topsy-turvy world. Pooh-Bah calls Ko-Ko, the Lord High Executioner, an "industrious mechanic". Ko-Ko also treats his bloody office as a profession, saying, "I can't consent to embark on a professional operation unless I see my way to a successful result." Of course, joking about death does not originate with The Mikado. The plot conceit that Nanki-Poo may marry Yum-Yum if he agrees to die at the end of the month was used in A Wife for a Month, a 17th-century play by John Fletcher. Ko-Ko's final speech affirms that death has been, throughout the opera, a fiction, a matter of words that can be dispelled with a phrase or two: being dead and being "as good as dead" are equated. In a review of the original production of The Mikado, after praising the show generally, the critic noted that the show's humour nevertheless depends on "unsparing exposure of human weaknesses and follies – things grave and even horrible invested with a ridiculous aspect – all the motives prompting our actions traced back to inexhaustible sources of selfishness and cowardice... Decapitation, disembowelment, immersion in boiling oil or molten lead are the eventualities upon which [the characters'] attention (and that of the audience) is kept fixed with gruesome persistence... [Gilbert] has unquestionably succeeded in imbuing society with his own quaint, scornful, inverted philosophy; and has thereby established a solid claim to rank amongst the foremost of those latter-day Englishmen who have exercised a distinct psychical influence upon their contemporaries."[40]

Grossmith "made up" as Ko-Ko

The opera is named after the Emperor of Japan using the term mikado (御門 or 帝 or みかど), literally meaning "the honourable gate" of the imperial palace, referring metaphorically to its occupant and to the palace itself. The term was commonly used by the English in the 19th century but became obsolete.[41] To the extent that the opera portrays Japanese culture, style and government, it is a fictional version of Japan used to provide a picturesque setting and to capitalise on Japonism and the British fascination with Japan and the Far East in the 1880s.[17] Gilbert wrote, "The Mikado of the opera was an imaginary monarch of a remote period and cannot by any exercise of ingenuity be taken to be a slap on an existing institution."[42] The Mikado "was never a story about Japan but about the failings of the British government".[43]

By setting the opera in a foreign land, Gilbert felt able to more sharply criticise British society and institutions.[44] G. K. Chesterton compared the opera's satire to that in Jonathan Swift's Gulliver's Travels: "Gilbert pursued and persecuted the evils of modern England till they had literally not a leg to stand on, exactly as Swift did. ... I doubt if there is a single joke in the whole play that fits the Japanese. But all the jokes in the play fit the English. ... About England, Pooh-bah is something more than a satire; he is the truth."[45] The opera's setting draws on Victorian notions of the far east, gleaned by Gilbert from the glimpses of Japanese fashion and art that immediately followed the beginning of trade between the two island empires, and during rehearsals Gilbert visited the popular Japanese exhibition in Knightsbridge, London.[46] A critic wrote in 2016: "It has been argued that the theatricality of the show was ... a tribute on the part of Gilbert and Sullivan to the growing British appreciation of the Japanese aesthetic [in the 1880s]."[47]

Gilbert sought authenticity in the Japanese setting, costumes, movements and gestures of the actors. To that end, he engaged some of the Japanese at the Knightsbridge village to advise on the production and to coach the actors. "The Directors and Native Inhabitants" of the village were thanked in the programme that was distributed on the first night.[48] Sullivan inserted into his score, as "Miya sama", a version of a Japanese military march song, called "Ton-yare Bushi", composed in the Meiji Era.[22][49][50] Giacomo Puccini later incorporated the same song into Madama Butterfly as the introduction to Yamadori, ancor le pene. The characters' names in the play are not Japanese names, but rather (in many cases) English baby-talk or simply dismissive exclamations. For instance, a pretty young thing is named Pitti-Sing; the beautiful heroine is named Yum-Yum; the pompous officials are Pooh-Bah[n 5] and Pish-Tush;[n 6] the hero is called Nanki-Poo, baby-talk for "handkerchief".[51][52][53] The headsman's name, Ko-Ko, is similar to that of the scheming Ko-Ko-Ri-Ko in Ba-ta-clan by Jacques Offenbach.[54]

Temple as the Mikado

The Japanese were ambivalent toward The Mikado for many years. Some Japanese critics saw the depiction of the title character as a disrespectful representation of the revered Meiji Emperor; Japanese theatre was prohibited from depicting the emperor on stage.[55] Japanese Prince Komatsu Akihito, who saw an 1886 production in London, took no offence.[56] When Prince Fushimi Sadanaru made a state visit in 1907, the British government banned performances of The Mikado from London for six weeks,[n 7] fearing that the play might offend him – a manoeuvre that backfired when the prince complained that he had hoped to see The Mikado during his stay.[57][58] A Japanese journalist covering the prince's stay attended a proscribed performance and confessed himself "deeply and pleasingly disappointed." Expecting "real insults" to his country, he had found only "bright music and much fun."[59]

After World War II, The Mikado was staged in Japan in a number of private performances. The first public production, given at three performances, was in 1946 in the Ernie Pyle Theatre in Tokyo, conducted by the pianist Jorge Bolet for the entertainment of American troops and Japanese audiences. The set and costumes were opulent, and the principal players were American, Canadian, and British, as were the women's chorus, but the male chorus, the female dancing chorus and the orchestra were Japanese.[60] General Douglas MacArthur banned a large-scale professional 1947 Tokyo production by an all-Japanese cast,[61] but other productions have occurred in Japan. For example, the opera was performed at the Ernie Pyle Theatre in Tokyo in 1970, presented by the Eighth Army Special Service.[62]

In 2001, the town of Chichibu (秩父), Japan, under the name of "Tokyo Theatre Company", produced an adaptation of The Mikado in Japanese.[63][64] Locals believe that Chichibu was the town Gilbert had in mind when he named his setting "Titipu", but there is no contemporary evidence for this theory.[65] Although the Hepburn system of transliteration (in which the name of the town appears as "Chichibu") is usually found today, it was very common in the 19th century to use the Nihon-shiki system, in which the name 秩父 appears as "Titibu". Thus it is easy to surmise that "Titibu", found in the London press of 1884, became "Titipu" in the opera. Japanese researchers speculate that Gilbert may have heard of Chichibu silk, an important export in the 19th century. The town's Japanese-language adaptation of The Mikado has been revived several times throughout Japan and, in 2006, the Chichibu Mikado was performed at the International Gilbert and Sullivan Festival in England.[66]

Since the 1990s, the opera, and productions of it, have sometimes drawn criticism from the Asian-American community as promoting "simplistic orientalist stereotypes".[67] In 2014, after a production in Seattle, Washington, drew national attention to such criticism,[68] the Gilbert biographer Andrew Crowther wrote that The Mikado "does not portray any of the characters as being 'racially inferior' or indeed fundamentally any different from British people. The point of the opera is to reflect British culture through the lens of an invented 'other', a fantasy Japan that has only the most superficial resemblance to reality."[69] For example, the starting point for the plot of The Mikado is "an invented 'Japanese' law against flirting, which makes sense only as a reference to the sexual prudishness of British culture".[69] Crowther noted that production design and other features of traditionally staged productions of the opera often "do look somewhat insensitive, not to say insulting. ... It should [be possible] to avoid such things in the future, with a little sensitivity. ... G&S is about silliness, and fun, and ... mocking the powerful, and accepting the fundamental absurdity of life".[69] Some commentators dismissed the criticism as political correctness[70] but a public discussion of the issue in Seattle a month later drew a large crowd who nearly all agreed that, although works like The Mikado should not be abandoned in their traditional form, there should be "some kind of contextualizing apparatus to show that the producers and performers are at least thinking about the problems in the work".[71]

In 2015 a planned production by the New York Gilbert and Sullivan Players was withdrawn after its publicity materials ignited a similar protest in the Asian-American blogosphere. The company redesigned its Mikado production[72] and debuted the new concept in December 2016, receiving a warm review from The New York Times.[73] After Lamplighters Music Theatre of San Francisco planned a 2016 production, objections by the Asian-American community prompted them to reset the opera in Renaissance-era Milan, eliminating all references to Japan.[74] Reviewers felt that the change resolved the issue.[75]

Barrington: "Lord-high everything else"

Modern productions update some of the words and phrases in The Mikado. For example, two songs in the opera use the word "nigger". In "As some day it may happen", often called the "list song", Ko-Ko names "the nigger serenader and the others of his race". In the Mikado's song, "A more humane Mikado", the lady who modifies her appearance excessively is to be punished by being "blacked like a nigger with permanent walnut juice".[76] These references are to white performers in blackface minstrel shows, a popular entertainment in the Victorian era, rather than to dark-skinned people.[77] Until well into the 20th century, audiences did not consider the word "nigger" offensive.[78] Audience members objected to the word during the D'Oyly Carte Opera Company's 1948 American tour, however, and Rupert D'Oyly Carte asked A. P. Herbert to supply revised wording. These alterations have been incorporated into the opera's libretto and score since then.[79][n 8]

Also included in the little list song are "the lady novelist" (referring to writers of fluffy romantic novels; these had been lampooned earlier by George Eliot)[80] and "the lady from the provinces who dresses like a guy", where guy refers to the dummy that is part of Guy Fawkes Night, meaning a tasteless woman who dresses like a scarecrow.[81] In the 1908 revival Gilbert allowed substitutions for "the lady novelist".[79][82] To avoid distracting the audience with references that have become offensive over time, lyrics are sometimes modified in modern productions.[83] Changes are also often made, especially in the little list song, to take advantage of opportunities for topical jokes.[84] Richard Suart, a singer well known in the role of Ko-Ko, published a book containing a history of rewrites of the little list song, including many of his own.[85]

The Mikado became the most frequently performed Savoy Opera[86] and has been translated into numerous languages. It is one of the most frequently played musical theatre pieces in history.[87] A feature on Chicago Lyric Opera's 2010 production noted that the opera "has been in constant production for the past 125 years", citing its "inherent humor and tunefulness".[44]

The Mikado has been admired by other composers. Dame Ethel Smyth wrote of Sullivan, "One day he presented me with a copy of the full score of The Golden Legend, adding: 'I think this is the best thing I've done, don't you?' and when truth compelled me to say that in my opinion The Mikado is his masterpiece, he cried out: 'O you wretch!' But though he laughed, I could see he was disappointed."[88]

The Mikado has been recorded more often than any other Gilbert and Sullivan opera.[105] Of those by the D'Oyly Carte Opera Company, the 1926 recording is the best regarded. Of the modern recordings, the 1992 Mackerras/Telarc is admired.[105]

Selected audio recordings

• 1926 D'Oyly Carte – Conductor: Harry Norris[106]
• 1936 D'Oyly Carte – Conductor: Isidore Godfrey[107]
• 1950 D'Oyly Carte – New Promenade Orchestra, Conductor: Isidore Godfrey[108]
• 1957 D'Oyly Carte – New Symphony Orchestra of London, Conductor: Isidore Godfrey[109]
• 1984 Stratford Festival – Conductor: Berthold Carrière[110]
• 1990 New D'Oyly Carte – Conductor: John Pryce-Jones[111]
• 1992 Mackerras/Telarc – Orchestra & Chorus of the Welsh National Opera, Conductor: Sir Charles Mackerras[112]

Sound film versions of twelve of the musical numbers from The Mikado were produced in Britain, and presented as programs titled Highlights from The Mikado. The first production was released in 1906 by Gaumont Film Company. The second production was released in July 1907 by the Walturdaw Company and starred George Thorne as Ko-Ko. Both of these programs used the Cinematophone sound-on-disc system of phonograph recordings (Phonoscène) of the performers played back along with the silent footage of the performance.[113]

In 1926, the D'Oyly Carte Opera Company made a brief promotional film of excerpts from The Mikado. Some of the most famous Savoyards are seen in this film, including Darrell Fancourt as The Mikado, Henry Lytton as Ko-Ko, Leo Sheffield as Pooh-Bah, Elsie Griffin as Yum-Yum, and Bertha Lewis as Katisha.[114][n 10][115]

In 1939, Universal Pictures released a ninety-minute film adaptation of The Mikado. Made in Technicolor, the film stars Martyn Green as Ko-Ko, Sydney Granville as Pooh-Bah, the American singer Kenny Baker as Nanki-Poo and Jean Colin as Yum-Yum. Many of the other leads and choristers were or had been members of the D'Oyly Carte company. The music was conducted by Geoffrey Toye, a former D'Oyly Carte music director, who was also the producer and was credited with the adaptation, which involved a number of cuts, additions and re-ordered scenes. Victor Schertzinger directed, and William V. Skall received an Academy Award nomination for Best Cinematography.[116][117] Art direction and costume designs were by Marcel Vertès.[118] There were some revisions – The Sun Whose Rays Are All Ablaze is performed twice, first by Nanki-Poo in a new early scene in which he serenades Yum-Yum at her window, and later in the traditional spot. A new prologue which showed Nanki-Poo fleeing in disguise was also added, and much of the Act II music was cut.

In 1966, the D'Oyly Carte Opera Company made a film version of The Mikado that closely reflected their traditional staging, although there are some minor cuts. It was filmed on enlarged stage sets rather than on location, much like the 1965 Laurence Olivier Othello, and was directed by the same director, Stuart Burge. It stars John Reed, Kenneth Sandford, Valerie Masterson, Philip Potter, Donald Adams, Christene Palmer and Peggy Ann Jones and was conducted by Isidore Godfrey.[119] The New York Times criticised the filming technique and the orchestra and noted, "Knowing how fine this cast can be in its proper medium, one regrets the impression this Mikado will make on those not fortunate enough to have watched the company in the flesh. The cameras have captured everything about the company's acting except its magic."[120]

Video recordings of The Mikado include a 1972 offering from Gilbert and Sullivan for All; the 1982 Brent-Walker film;[121] the well-regarded 1984 Stratford Festival video; and the 1986 English National Opera production (abridged). Opera Australia have released videos of their 1987 and 2011 productions.[105] Since the 1990s, several professional productions have been recorded on video by the International Gilbert and Sullivan Festival.[122]

The phrase "A short, sharp shock", from the Act 1 song "I am so proud" has entered the English language, appearing in titles of books and songs, such as in samples of Pink Floyd's "The Dark Side of the Moon", as well as political manifestos. Likewise "Let the punishment fit the crime" is an often-used phrase from the Mikado's Act II song and has been mentioned in the course of British political debates, though the concept predates Gilbert.[140][141] For instance, episode 80 of the television series Magnum, P.I., "Let the Punishment Fit the Crime", features bits of several songs from The Mikado.[142] The phrase and the Mikado's song also are featured in the Dad's Army episode "A Soldier's Farewell." In The Parent Trap (1961), the camp director quotes the phrase before sentencing the twins to the isolation cabin together.

The name of the character Pooh-Bah has entered the English language to mean a person who holds many titles, often a pompous or self-important person.[143][144] Pooh-Bah is mentioned in P. G. Wodehouse's novel Something Fresh and in other, often political, contexts.[n 11] In December 2009 BBC presenter James Naughtie, on Radio 4's Today programme, compared UK cabinet member Peter Mandelson to Pooh-Bah because Mandelson held many offices of state, including Secretary of State for Business, First Secretary of State, Lord President of the Council, President of the Board of Trade, and Church Commissioner, and he sat on 35 cabinet committees and subcommittees. Mandelson replied, "Who is Pooh-Bah?" Mandelson was also described as "the grand Pooh-Bah of British politics" earlier the same week by the theatre critic Charles Spencer of The Daily Telegraph.[145] In the U.S., particularly, the term has come to describe, mockingly, people who hold impressive titles but whose authority is limited.[146] William Safire speculated that invention of Winnie-the-Pooh by the author A. A. Milne might have been influenced by the character.[144] The term "Grand Poobah" has been used on television shows, including The Flintstones and Happy Days, and in other media, as the title of a high-ranking official in a men's club, spoofing clubs like the Freemasons, the Shriners, and the Elks Club.[147]

Film poster for The Little Shop of Horrors parodying the song "The Flowers that Bloom in the Spring, Tra la!" changing the word "bloom" to "kill"

Politicians often use phrases from songs in The Mikado. For example, Conservative Peter Lilley pastiched "As Someday It May Happen" to specify some groups to whom he objected, including "sponging socialists" and "young ladies who get pregnant just to jump the housing queue".[140] Comedian Allan Sherman also did a variant on the "Little List" song, presenting reasons one might want to seek psychiatric help, titled "You Need an Analyst".[148] In a Eureeka's Castle Christmas special called "Just Put it on the List," the twins, Bogg and Quagmire, describe what they'd like for Christmas to the tune of the song. Richard Suart and A.S.H. Smyth released a book in 2008 called They'd none of 'em be missed, about the history of The Mikado and the 20 years of little list parodies by Suart, the English National Opera's usual Ko-Ko.[149] In Isaac Asimov's short story "Runaround" a robot recites some of the song.[130]

Other songs in The Mikado have been referenced in films, television and other media. For example, the movie poster for The Little Shop of Horrors, shown to the left, parodies the song title "The Flowers that Bloom in the Spring, Tra la!", changing the word "bloom" to "kill".[150] In The Producers, an auditioner for the musical Springtime for Hitler begins his audition with Nanki-Poo's song, "A wand'ring minstrel I." He is quickly dismissed. In the 2006 film Brick, femme fatale Laura (Nora Zehetner) performs a spoken-word version of "The Sun Whose Rays are All Ablaze" while playing piano. In the 1966 Batman episode "The Minstrel's Shakedown," the villain identifies himself as "The Minstrel" by singing to the tune of "A wand'ring minstrel I." In the Top Cat episode "All That Jazz", Officer Dibble woefully sings the same song. In Blackadder Goes Forth a recording of "A Wand'ring Minstrel I" is played on a gramophone at the beginning of the first episode, and a snatch of the song is also sung by Captain Blackadder in the episode involving "Speckled Jim". "There Is Beauty in the Bellow of the Blast" is performed by Richard Thompson and Judith Owen on the album 1000 Years of Popular Music.[151]

The song "Three Little Maids" is featured in the 1981 film Chariots of Fire, where Harold Abrahams first sees his future wife dressed as one of the Three Little Maids. Television programmes that have featured the song include the Cheers episode "Simon Says" (for which John Cleese won an Emmy Award), the Frasier episode "Leapin' Lizards", the Angel episode "Hole in the World", The Simpsons episode "Cape Feare",[152] The Suite Life of Zack & Cody episode "Lost in Translation," and The Animaniacs Vol. 1 episode "Hello Nice Warners". The Capitol Steps performed a parody titled "Three Little Kurds from School Are We". On the Dinah Shore Show, Shore sang the song with Joan Sutherland and Ella Fitzgerald in 1963.[153]

References to "Tit-Willow" ("On a tree by a river") have included Allan Sherman's comedy song "The Bronx Bird Watcher", about a Yiddish-accented bird whose beautiful singing leads to a sad end.[154] On The Dick Cavett Show, Groucho Marx and Cavett sang the song. Groucho interrupted the song to quiz the audience on the meaning of the word "obdurate". A Season 1 episode of The Muppet Show (aired on 22 November 1976) featured Rowlf the Dog and Sam Eagle singing the song, with Sam clearly embarrassed at having to sing the word 'tit' (also asking the meaning of "obdurate"). In the film Whoever Slew Auntie Roo?, Shelley Winters as the title character sings the song just before she is murdered.[155]