Notes

1. This and all subsequent quotations from the operas of Gilbert and Sullivan are taken from Ian Bradley, The Complete Annotated Gilbert and Sullivan (Oxford: Oxford University Press, 1996).

2. Roland Barthes, The Empire of Signs (New York: Hill and Wang, 1970), 99–100.

3. For an excellent study of American racial stereotypes of Asians, see Robert Lee’s Orientals: Asian Americans in Popular Culture (Philadelphia: Temple University Press, 2000).

4. At the Nazi prison camp Stalag 383 in Hohenfels, Bavaria, hundreds of male prisoners staged four of Gilbert and Sullivan’s operas. Trevor Hills, a retired D’Oyly Carte singer, has recounted these events at the International Gilbert and Sullivan Festival, excerpts of which appear on the DVD Oh Mad Delight! (49-North Productions, 2005).

5. Asian American Drama Listserv, posting titled “yellowface in NYC,” January 22, 2004.

6. The 1991 protests were directed at the New York productions of Miss Saigon, in which Pryce had been promised the leading role of the Engineer. Actor’s Equity eventually conceded its demands that Cameron Mackintosh cast an Asian American actor in the role after Mackintosh threatened to cancel the production.

7. Thomas C. Holt, The Problem of Race in the Twenty-first Century (Cam-bridge: Harvard University Press, 2000), 20.

8. Anne McClintock, Imperial Leather: Race, Gender and Sexuality in the Colonial Context (New York: Routledge, 1995), 209.

9. Claire Jean Kim, “The Racial Triangulation of Asian Americans,” Politics and Society 27, no. 1 (1999): 105–38, 107.

10. Matthew Calbraith Perry, Narrative of the Expedition of an American Squadron to the China Seas and Japan: Performed in the years 1852, 1853, and 1854, under the command of Commodore M. C. Perry (New York: D. Appleton, 1856), 488.

11. Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (Oxford: Oxford University Press, 1993), 18.

12. Ibid.

13. Commentary on The Cool Mikado at “A Gilbert and Sullivan Discography,” http://www.cris.com/~oakapple/gasdisc/mikcool.htm (accessed August 20, 2008).

14. Ian Bradley, Oh Joy! Oh Rapture! The Enduring Phenomenon of Gilbert and Sullivan (Oxford: Oxford University Press, 2005), 95.

15. Ibid., 23.

16. “Gilbert & Sullivan Very Light Opera Company,” http://www.gsvloc.org/general2/aboutus.htm (accessed May 14, 2007).

1. John Ayers, Oliver Impey, and J. V. G. Mallet, Porcelain for Palaces: The Fashion for Japan in Europe, 1650–1750 (London: Oriental Ceramic Society, 1990); Anna Jackson, “Imagining Japan: The Victorian Perception and Acquisition of Japanese Culture,” Journal of Design History 5, no. 4 (1992): 245–56, 245.

2. François Cellier and Cunningham Bridgeman, Gilbert and Sullivan and Their Operas, with Recollections and Anecdotes of D’Oyly Carte and Other Famous Savoyards (New York: Benjamin Blom, 1914), 189.

3. W. S. Gilbert, “The Story of a Stage Play: Mr. Gilbert Relates the History of the Evolution of The Mikado,” New York Daily Tribune, August 9, 1885, 9.

4. Interview with Gilbert published in the Daily News “Workers and their Work” series, reprinted in Musical World, March 14, 1885, and quoted in Audrey Williamson, Gilbert and Sullivan Opera: An Assessment (New York: Macmillan, 1953), 141.

5. Bradley, Complete Annotated Gilbert and Sullivan, 576.

6. Jackson, “Imagining Japan,” 247.

7. Ibid., 249.

8. Bradley, Complete Annotated Gilbert and Sullivan, 642.

9. Dawn Jacobson, Chinoiserie (London: Phaidon Press, 1999), 198–99.

10. T. J. Jackson Lears, Fables of Abundance: A Cultural History of Advertising in America (New York: Basic Books, 1995), 65; Lears, “Beyond Veblen: Rethinking American Consumer Culture,” in Consuming Visions: The Accumulation and Display of Goods in America, 1880–1920, ed. Simon Bronner (New York: W. W. Norton, 1989), 78.

11. Lee, Orientals, ix.

12. “Editor’s Easy Chair,” Harper’s New Monthly Magazine, February 1886, 476–78.

13. For instance, only a lone caricature of an oversized Sir Joseph on a boat crowns a set of songs from H.M.S. Pinafore published by White, Smith, and Company (Boston, 1878); “La Tonkinoise” march by Leopold de Wenzel and “La Tonkinoise” quadrille by C. A. White, both published by White, Smith, and Company (Boston) in 1884, feature a pagoda and a Chinese junk with a mountain in the background, all framed by a banner prominently displaying the title. A scene on the cover of the earlier instrumental “Chao kanc, galop chinois” (1841), by Gustave Blessner, depicts an elderly mandarin with a pipe, a man holding a scroll, a woman with a stringed instrument, and in the foreground an elegant woman with a fan, who may be dancing to the music.

14. Toshio Yokoyama, Japan in the Victorian Mind: A Study of Stereotyped Images of a Nation, 1850–80 (London: Macmillan, 1987), 175.

15. Ibid., 150.

16. Bill Brown, A Sense of Things: The Object Matter of American Literature (Chicago: University of Chicago Press, 2003), 31–32.

17. Rotem Kowner, “Lighter than Yellow, But Not Enough: Western Discourse on the Japanese ‘Race,’ 1854–1904,” Historical Journal 43, no. 1 (2000): 103–31, 125, 104, 112.

18. Jackson, “Imagining Japan,” 248.

19. Rutherford Alcock, Art and Art Industries in Japan (London: Virtue and Company, 1878), 17.

20. Jackson, “Imagining Japan,” 248.

21. Alcock, Art and Art Industries in Japan, 262.

22. Rutherford Alcock, The Capital of the Tycoon: A Narrative of a Three Years’ Residence in Japan, 2 vols. (New York: Harper and Brothers, 1863), 1:179.

23. Ibid.

24. Ibid., 180.

25. Ibid.

26. Williamson, Gilbert and Sullivan Opera, 141.

27. Cellier and Bridgeman, Gilbert and Sullivan and Their Operas, 188–89.

28. Illustrated Sporting and Dramatic News, March 28, 1885, 45; quoted in Jane Stedman, “Gilbert’s Stagecraft: Little Blocks of Wood,” in Gilbert and Sullivan: Papers Presented at the International Conference Held at the University of Kansas in May 1970, ed. James Helyar (Lawrence, Kansas: University of Kansas Libraries, 1971), 195–212, 201.

29. William Beatty-Kingston, Theatre, April 1, 1885; quoted in Leslie Baily, The Gilbert & Sullivan Book (London: Cassell and Co., 1952), 248.

30. Rebecca A. T. Stevens and Yoshiko Iwamoto Wada, The Kimono Inspiration: Art and Art-to-Wear in America (Washington, D.C.: Textile Museum; San Francisco: Pomegranate Artbooks, 1996), 24–25.

31. See, for instance, Yashima Gakutei, “Design for Critique of Yoshiwara Figures in the Four Seasons” (Yoshiwaragata Shiki Saiken), in Linda Gertner Zatlin, Beardsley, Japonisme, and the Perversion of the Victorian Ideal (Cambridge: Cambridge University Press, 1997), 109.

32. See Zatlin, Beardsley, Japonisme, and the Perversion of the Victorian Ideal.

33. Sally Ledger, “The New Woman and the Crisis of Victorianism,” in Cultural Politics at the “Fin de Siècle,” ed. Ledger and Scott McCracken (Cambridge: Cambridge University Press 1995), 22–44, 27.

34. Edmond de Goncourt, December 29, 1883, quoted in Lionel Lambourne, Japonisme: Cultural Crossings Between Japan and the West (London: Phaidon, 2005), 131.

35. George du Maurier’s drawing in Punch, October 30, 1880. For an account of Wilde’s remark, see Richard Ellman, Oscar Wilde (New York: Alfred A. Knopf, 1988), 45.

36. Bradley, The Complete Annotated Gilbert and Sullivan, 269.

37. Mari Yoshihara, Embracing the East: White Women and American Orientalism (New York: Oxford University Press, 2003), 18.

38. Bradley, Oh Joy!, 33.

39. Ricketts based his costume design on highly stylized versions of 1720 Japanese dress; his designs remained the standard until the closure of the D’Oyly Carte Opera Company in 1982.

40. Letter from Gilbert to Richard D’Oyly Carte on April 30, 1890; quoted in Jane Stedman, “Gilbert’s Stagecraft: Little Blocks of Wood,” 198.

41. Cellier and Bridgeman, Gilbert and Sullivan and Their Operas, 196.

42. Stedman, “Gilbert’s Stagecraft,” 207.

43. Cellier and Bridgeman, Gilbert and Sullivan and Their Operas, 196.

44. The attention Bond receives has lasting benefits; according to her autobiography, she eventual married Lewis Ransome, the admirer who tells her that he attended The Mikado with his sister, “and when we were talking it over afterwards I said I liked the one with the big sash best. So next day when she saw a photograph of you in a shop window she went in and bought it. She gave it to me and I have it now.” Jessie Bond, The Life and Reminiscences of Jessie Bond, the Old Savoyard (London: Bodley Head, 1930), 120–21.

45. Thomas Richards, The Commodity Culture of Victorian English: Advertising and Spectacle, 1851–1914 (Stanford, Calif.: Stanford University Press, 1990); and Richard Wightman Fox and T .J. Jackson Lears, eds., The Culture of Consumption: Critical Essays in American History, 1880–1980 (New York: Pantheon, 1983).

46. “In the ‘Mikado’ Rooms: The Latest Fashionable Craze in New York Homes,” New York World, September 27, 1885, supplement no. 2, 18.

47. Ibid.

48. “The Land of Titipu,” Chicago Daily Tribune, October 11, 1885, 26.

49. Ibid.

50. Estelle Stoughton Smith, The Mikado Room and How to Furnish It (self-published, Baltimore, 1886), Library of Congress.

51. John Kuo Wei Tchen, New York before Chinatown (Baltimore, Md.: Johns Hopkins University Press, 2001), 101–6.

52. Ibid., 99.

53. “In the ‘Mikado’ Rooms,” 18.

54. Edmond de Goncourt, October 29 1868, quoted in Lambourne, Japonisme, 131.

55. H. L. Mencken, Baltimore Sun, November 29, 1910.

56. “Stage History of ‘The Mikado,’” New York Times, May 29, 1910, X7.

57. “Notes of the Stage,” New York Times, July 1, 1885, 4.

58. Baily, The Gilbert & Sullivan Book, 256.

59. Colin Prestige, “D’Oyly Carte and the Pirates: The Original New York Productions of Gilbert and Sullivan,” in Helyar, Gilbert and Sullivan, 113–48, 137.

60. Advertisements, Chicago Daily Tribune, October 25, 1885, 6.

61. “Gossip of the Theatres,” New York Times, July 12, 1885, 3.

62. New York World, September 27, 1885, 3.

63. “Sir Arthur Very Wroth,” New York Times, July 14, 1885, 1.

64. “John Duff’s Mikado Suffers by Comparison with the Fifth Avenue Production,” Boston Globe, August 25, 1885, 2.

65. In a letter to Algernon Mitford, former attaché in Japan, Gilbert is flattered to be complimented on “the fidelity with which the local characteristics are reproduced.” Gilbert to Algernon Mitford, 17 March 1885; quoted in Jane W. Stedman, W. S. Gilbert: A Classic Victorian and His Theatre (Oxford: Oxford University Press, 1996), 225; Michael Ainger, Gilbert and Sullivan: A Dual Biography (Oxford: Oxford University Press, 2002), 245.

66. Yuko Matsukawa, “Onoto Watanna’s Japanese Collaborators and Commentators,” Japanese Journal of American Studies 16 (2005): 31–53, 42.

67. T. J. Jackson Lears, No Place of Grace: Antimodernism and the Transformation of American Culture, 1880–1920 (New York: Pantheon, 1981); and Christopher Benfrey, The Great Wave: Gilded Age Misfits, Japanese Eccentrics, and the Opening of Old Japan (New York: Random House, 2003).

68. Jeff Nunokawa, Tame Passions of Wilde: The Styles of Manageable Desire (Princeton, N.J.: Princeton University Press, 2003), 48.

69. Edison and international photographic film catalogue, April 1897, p. 10 [MI]; Edison films catalog, no. 105, July 1901, p. 53 [MI]. Library of Congress Motion Picture, Broadcasting and Recorded Sound Division.

70. G. Waldo Browne, The New America and the Far East: A Picturesque and Historic Description of these Lands and Peoples, vol. 2 (Boston: Marshall Jones, 1907), 316.

71. Oscar Wilde, “The Decay of Lying,” in The Complete Works of Oscar Wilde (New York: Harper and Row, 1989), 988.

72. Karl Marx, Capital: A Critique of Political Economy (1867), trans. Ben Fowkes (Harmondsworth, Middlesex: Penguin, 1990), 1:163.

73. Estelle Stoughton Smith, The Mikado Room and How to Furnish It.

1. Bradley, Complete Annotated Gilbert and Sullivan, 555.

2. For a history of this tune, see Paul Seeley, “The Japanese March in The Mikado,” Musical Times 126, no. 1710 (August 1985): 454–56, 455.

3. Most commonly, “Miya sama” and the utterance of “O ni! bikkur shakkuri to! Oya! Oya!” (the first a warlike tune describing the waving of the imperial banner, the second a hodgepodge of Japanese insults loosely translated by Michael Beckerman as “You devil! With fright! with hiccups! hey! Hey!”). Raymond Knapp, The American Musical and the Formation of National Identity (Princeton, N.J.: Princeton University Press, 2005), 249–60; Michael Beckerman, “The Sword on the Wall: Japanese Elements and their Significance in The Mikado,” Musical Quarterly 73, no. 3 (1989): 303–19. Also see Robert Fink, “Rhythm and Text Setting in The Mikado,” 19th-Century Music 14, no. 1 (Summer 1990): 31–47.

4. Alcock, Capital of the Tycoon, 2:124. The illustration of the “wandering minstrel” is from 125.

5. Ibid., 124.

6. S. Takeda, “A Japanese Criticism of the The Mikado,” Chicago Daily Tribune, November 29, 1885, 27.

7. “A Japanese Village in London,” London Times, January 10, 1885, 6D.

8. “The Japanese Village,” Illustrated London News, February 21, 1885, 203.

9. “A Japanese Village in London,” London Times, January 10, 1885.

10. Ibid.

11. “The Japanese Village,” Illustrated London News, February 21, 1885.

12. Ibid.

13. “Sir R. Alcock on Japanese Work,” London Times, January 12, 1885, 10E.

14. O. Buhicrosan, Japan: Past and Present; The Manners and Customs of the Japanese and a Description of the Japanese Native Village, ed. R. Reinagle Barnett, published by the Proprietors of the Japanese Native Village (1885), 3; microfilm, Harvard Library.

15. Ibid., 161.

16. Ibid., 79–80.

17. Kurata Yoshihira, 1885 nen London Nihonjin mura (1885 London Japanese Village) (Tokyo: Asahi Shimbunsha, 1983), 96; quoted in Ayako Kano, Acting Like a Woman in Modern Japan: Theater, Gender, and Nationalism (New York: Palgrave, 2001), 92–93.

18. “A Japanese Village in London,” London Times, January 10, 1885.

19. “The Japanese Village,” Illustrated London News, February 21, 1885.

20. “Sir R. Alcock on Japanese Work,” London Times, January 12, 1885.

21. Bill Brown, A Sense of Things: The Object Matter of American Literature (Chicago: University of Chicago Press, 2003), 94.

22. Ibid., 92.

23. “A Japanese Village in London,” London Times, December 20, 1884, 10E.

24. “News,” Illustrated London News, April 18, 1885, 3.

25. “The Fire at the Japanese Village,” London Times, May 6, 1885, 9f.

26. Kano, Acting Like a Woman in Modern Japan, 252n19.

27. “The Japanese Village,” London Times, December 2, 1885, 6D.

28. Kano, Acting Like a Woman in Modern Japan, 252n19.

29. The souvenir booklet A Veritable Japanese Village at Madison Square Garden is dated December 4, 1885; the guide for the “Japanese Village Company” at Boston’s Horticultural Hall in 1886 is titled A Veritable Japanese Village: Under the Sanction of the Imperial Japanese Government: A Colony of Japanese Men, Women and Children in Native Costume Who Daily Illustrate the Art Industries of Japan; the Philadelphia exhibition had an associated pamphlet titled Domestic Drama of Japanese Life, by Ella Sterling Cummins (New York: J. B. Rose, 1886).

30. “The Japanese Village: Where One Sees Cloisonné Made and Falls in Love with a Japanese Girl,” New York Times, December 3, 1885, 4, col. 7.

31. Ibid.

32. “The Ladies of the Tea House,” in A Veritable Japanese Village (Madison Square Garden, New York, December 4, 1885), 8, 9. All subsequent references to the guides come from this version.

33. “The Tailor,” in A Veritable Japanese Village, 7.

34. “Japanese Art Workers,” Boston Evening Transcript, January 1, 1886, 6; quoted in Cynthia A. Brandimarte, “Japanese Novelty Stores,” Winterthur Portfolio 26, no. 1 (Spring 1991): 1–25, 10.

35. “The Japanese Village,” Art Interchange 16, no. 5 (February 27, 1886): 66; quoted in Brandimarte, “Japanese Novelty Stores,” 10.

36. “The Tailor,” in A Veritable Japanese Village, 7.

37. “The Cabinet-Maker,” in A Veritable Japanese Village, 2.

38. “Silk Weaving,” in A Veritable Japanese Village, 6.

39. “Silk Twisting,” in A Veritable Japanese Village, 6.

40. “Ota Pottery,” in A Veritable Japanese Village, 3.

41. “Satsuma Decoration,” in A Veritable Japanese Village, 4.

42. “Silk Embroidery Department,” in A Veritable Japanese Village, 4.

43. “The Shippo Designer,” in A Veritable Japanese Village, 5.

44. A Veritable Japanese Village, 1.

45. Ibid., 13.

46. Gilbert writes, “The market people were subsequently discarded, as it was thought advisable not to ‘discover’ our ladies, but to reserve their entrance for a special effect later on.” “The Story of a Stage Play,” New-York Daily Tribune, August 9, 1885, 9.

47. Vijay Prashad, Everybody Was Kung Fu Fighting: Afro-Asian Connections and the Myth of Cultural Purity (Boston: Beacon Press, 2002), 72.

48. Ibid., 71–72.

49. David Porter, Ideographia: The Chinese Cipher in Early Modern Europe (Stan-ford, Calif.: Stanford University Press, 2001), 135, 134.

50. Jacobson, Chinoiserie, 183.

51. Ibid., 199.

52. Alcock, The Capital of the Tycoon, 1:62.

53. Neil Harris, “All the World a Melting Pot? Japan at American Fairs, 1876–1904,” in Mutual Images: Essays in American-Japanese Relations, ed. Akira Iriye (Cambridge, Mass.: Harvard University Press, 1975), 24–54, 28, 46.

54. James Dabney McCabe, The Illustrated History of the Centennial Exhibition, Held in Commemoration of the One Hundredth Anniversary of American Independence (Cincinnati: Jones Brothers, 1876), 414–17.

55. Ibid.

56. Kowner, “Lighter than Yellow, But Not Enough,” 114.

57. Lee, Orientals, 60–61, 82.

58. Sheet music for Septimus “Sep” Winner, “The Coolie Chinee” (Philadelphia: Lee & Walker, 1871) Library of Congress, Music Division.

59. Oscar Wilde, “House Decoration,” May 11, 1882, in Oscar Wilde, Essays and Lectures (London: Methuen, 1908; rprt., Whitefish, Mont.: Kessinger, 2004), 79.

60. “American Barbarism: The Apostle of Estheticism Exposes Our Sins,” San Francisco Daily Chronicle, March 30, 1882, 2.

61. Christopher Bush, “The Ethnicity of Things in America’s Lacquered Age,” Representations 99 (Summer 2007): 74–98, 87–88.

62. McCabe, The Illustrated History of the Centennial Exhibition, 418–19.

63. Ibid., 417.

64. Marietta Holley, Josiah Allen’s Wife as a P.A. and P.I.: Samantha at the Centennial (Hartford, Conn., 1878), 444–45, quoted in Harris, “All the World a Melting Pot?” 35.

65. Edward C. Bruce, The Century: Its Fruits and Its Festival (Philadelphia, 1877), 244; quoted in Harris, “All the World a Melting Pot?” 35.

66. In a scrapbook of Centennial clippings, Historical Society of Pennsylvania, 92; quoted in Harris, “All the World a Melting Pot?” 35.

67. Julian Hawthorne, Humors of the Fair (Chicago, n.d.), 93; quoted in Harris, “All the World a Melting Pot?” 43.

68. D. C. Taylor, Halcyon Days in the Dream City (n.p., n.d.), 35, 42; quoted in Harris, “All the World a Melting Pot?” 43.

69. H. G. Cutler, The World’s Fair: Its Meaning and Scope (Chicago, 1892), 286; quoted in Harris, “All the World a Melting Pot?” 43.

70. “The Centennial Grounds: Progress of the Work,” New York Times, February 4, 1876, 1; quoted in Harris, “All the World a Melting Pot?” 29.

71. Ronald Takaki, Strangers from a Different Shore: A History of Asian Americans (New York: Penguin Books, 1989), 180.

1. “Gorgeous Receptions: Mrs. Marshall Field’s Mikado Ball in Honor of Her Son’s Birthday,” Chicago Daily Tribune, January 2, 1886, 6.

2. According to their Web site, PEERS, based in Alameda, California, is an organization “dedicated to remembering, researching, and re-creating the performing arts of the past” that organizes regular costume events such as the Pride and Prejudice Picnic on August 4, 2007, and a Chicago Speakeasy Ball on May 3, 2008, http://www.peers.org/ (accessed July 19, 2007).

3. Bradley, Oh Joy!, 29.

4. Kenneth Sandford in conversation with Ian Smith, Buxton, August 2, 2001; quoted in Bradley, Oh Joy!, 34.

5. William Littler, “The Mikado,” Toronto Star, January 12, 1986, G1.

6. Chris Pasles, “Staging Turns ‘The Mikado’ on Its Ear; Christopher Renshaw Takes Populist Approach as Stage Director for Opera Pacific’s Gilbert and Sullivan Offering,” Los Angeles Times, November 10, 1997, F2.

7. Noel Goodwin, “London Reports,” Opera News, April 9, 1983, 52–53, 53.

8. Pasles, “Staging Turns ‘The Mikado’ on Its Ear,” F2.

9. Cora Kaplan, Victoriana: Histories, Fictions, Criticism (Edinburgh: Edinburgh University Press, 2007), 3.

10. The film was nominated for several Academy Awards and won for Best Costumes and Best Makeup. It also won New York Film Critics awards for Best Picture and Best Director.

11. Scott Tobias, “Interview with Mike Leigh,” Onion A.V. Club 36, no. 3, February 2, 2000, http://www.avclub.com/content/node/22903 (accessed April 26, 2006).

12. Jason Anderson, “Smooth Operetta: Mike Leigh Re-creates the World of Gilbert and Sullivan,” Eye Weekly, January 20, 2000, http://www.eye.net/eye/issue/issue_01.20.00/film/topsy.html (viewed April 28, 2006).

13. Lears, No Place of Grace, 190.

14. See, for example, Lambourne’s Japonisme or Christopher Benfrey’s The Great Wave: Gilded Age Misfits, Japanese Eccentrics, and the Opening of Old Japan (New York: Random House, 2004).

15. Leigh describes, “The Savoy Theater was, as you may know, the first public building in the world to be lit by electricity. And at the time of the film it was to be in existence four or five years. There is no reference to that because there is no logical reason for anyone to mention it. Bt we looked at that, and we got some demonstrations of old equipment. In fact, a company made us a thousand period bulbs for nothing as a gift. So there are a lot of shots where you actually see those lighting buttons with those authentic 1880s lighting bulbs.” Adam M. Goldstein, “The Method to His Madness,” MovieMaker, no. 37, http://www.moviemaker.com/magazine/issues/37/37_madness.html (accessed April 28, 2006).

16. Ainger, Gilbert and Sullivan, 233.

17. Ibid., 237–38.

18. Goldstein, “The Method to His Madness.”

19. Cellier, Gilbert and Sullivan and Their Operas, 192.

20. Ibid.

21. Anderson, “Smooth Operetta.”

22. Tobias, “Interview with Mike Leigh.”

23. Ibid., 192–93.

24. Eric Layton, “A Topsy-Turvy Science,” Ent-today.com, November 2003, http://www.ent-today.com/1-14/leigh-feature.htm (accessed November 10, 2003).

25. Tobias, “Interview with Mike Leigh.”

26. Yoshihara, Embracing the East, 43.

1. Hallie Flanagan, Arena (New York: Duell, Sloan and Pearce, 1940), 144.

2. Bernard Simon, “He Had a Lot of Negroes Handy, So He Heated Up Sullivan Music,” New York Herald Tribune, March 26, 1939, sec. 6, 5.

3. Ibid.

4. Interview with Duncan Whiteside, technical director for the Great Northern Theater, 1938–39, by Karen Wickre for the Research Center for the Federal Theatre Project, George Mason University, Fairfax, Virginia, August 13, 1978; quoted in Stephanie Leigh Batiste, “Darkening Mirrors: Imperial Representation, Otherness and Subjectivity in African American Performance during the Depression Era” (Ph.D. dissertation, George Washington University, 2003), 231–32.

5. The Mikado. Production Title File, Federal Theatre Collection, Library of Congress; quoted in Batiste, “Darkening Mirrors,” 233.

6. Batiste, “Darkening Mirrors,” 232.

7. “Swing Mikado’s Songs Hailed by Lovers of Gilbert and Sullian: Swing Copies and Orchestrations Now Available for Harry Minturn’s Successful Swing Production,” Music World Almanac 10, no. 9 (Radio City, New York, 1938); quoted in Batiste, “Darkening Mirrors,” 232.

8. Rena Fraden, Blueprints for a Black Federal Theatre, 1935–1939 (Cambridge: Cambridge University Press 1996), 187.

9. Dorothy Day writes, for example, that the concept “to give the famous Gilbert and Sullivan opera as seen through the eye of the Negro” was lacking because in particular “the clipped diction, so necessary to the lyrics and lines of the books, and so foreign to the Negro tongue, is beyond the scope of the actors, and the production falls into the doldrums after the novelty has worn off.” “This ‘Mikado’ Unconvincing,” Chicago Herald and Examiner, September 27, 1938, 20.

10. John Anderson finds, “When they really swing it the show goes crazy with the heat and works up an outlandish and sometimes hilarious fascination. When it follows Sullivan’s music exactly, which is most of the time, it is merely an indifferent blackface ‘Mikado’ with bizarre costumes and sets. It ought to swing from end to end; it ought to get into the groove and stay there and knock the cats into the alley. Its fun is gaudy, but intermittent.” “Swing Mikado Stomps in, Running High and Wide,” New York Journal American, March 2, 1939, 14.1.

11. Brooks Atkinson, “Chicago Unit of the Federal Theatre Comes in Swinging the Gilbert and Sullivan ‘Mikado,’” New York Times, March 2, 1938, 18.

12. Michael Pickering, “John Bull in Blackface,” Popular Music 16, no. 2 (May 1997): 181–201, 181.

13. Jane Stedman writes, “Gilbert amused himself on 6 March [1877] by attending the annual benefit of G. W. Moore (Moore and Burgess Minstrels), followed by a supper party and ball.” Stedman, W. S. Gilbert: A Classic Victorian and This Theatre, 146.

14. Minstrelsy apparently proved popular enough that a young Sullivan participated in the creation of a small performance with his friends for a Leipzig audience in or around December 1860 while in Germany on the Mendelssohn scholarship that would eventually lead to his fame. Two documents support this claim. One, a letter to his brother, Fred [at Christmas of 1860], states the matter in a fairly explicit manner: “We were wishing for you to come over and give us your valuable assistance here a short time ago. We had a grand nigger performance at Mrs. Barnett’s and all the English and Americans in the Conservatorium invited to witness it. The performers were four in number. Taylor [Professor Franklin Taylor], banjo (played upon my tenor); Barnett [John Francis Barnett], bones, deficiency supplied by castagnets; Wheat, violin, and myself, tambourine. We composed the whole entertainment amongst us, and a very good one it was too; most of the audience had never seen anything of the kind before, and the consequence was they were most of them ill with laughing. In the same sort of case, in fact, that father and I were in after we had seen Christy’s. In our rehearsals, when we were at a standstill or in a difficulty, the general exclamation was, ‘Now, if Sullivan’s brother were here he’d be the fellow. Yes, write to Fred Sullivan and tell him to give us a few hints,’ so you see your reputation is firmly established in Leipzig.” In Arthur Lawrence, Sir Arthur Sullivan: Life Story, Letters, and Reminiscences (Chicago: H. S. Stone, 1900), 42–43. Sullivan’s obituary in the December 1900 publication of the Musical Times noted that he had been a member of a minstrel group and that he “had such a shock of curly red hair that a nigger wig was quite in the nature of superfluity.” In “Arthur Sullivan,” unsigned obituary, Musical Times, December 1, 1900, 786.

15. Bradley, Complete Annotated Gilbert and Sullivan, 1049–51.

16. Prestige, “D’Oyly Carte and the Pirates,” 113–48, 119.

17. Gerald Bordman, American Musical Theatre: A Chronicle (Oxford: Oxford University Press, 1991), 92; Robert Toll, Blacking Up: The Minstrel Show in Nineteenth-Century America (Oxford: Oxford University Press, 1974), 172.

18. Toll, Blacking Up, 172.

19. See ibid., chap. 6.

20. This is clearly a name designed to satirize Hamaikari Nagakichi, one of the few child acrobats to come to the United States, who was known as little “All Right,” a phrase that he had first used during performances in San Francisco that evolved into a nickname. He was a sensation in San Francisco and New York, where theatergoers were impressed by his agility in a perch act with his adopted father Hamaikari Sadakichi (the lead performer of the troupe) and in an aerial routine on the slack wire. Krystyn Moon, “Paper Butterflies: Japanese Acrobats in Mid-Nineteenth-Century New England,” in Asian Americans in New England: Culture and Community, ed. Monica Chin (Durham: University of New Hampshire, 2009), 66–90.

21. Toll, Blacking Up, 170.

22. Ibid., 173.

23. Harry Reynolds, Minstrel Memories: The Story of Burnt Cork Minstrelsy in Great Britain from 1836 to 1927 (London: Alston Rivers, 1928), 137–38.

24. James Weldon Johnson, Black Manhattan (New York: Knopf, 1930; reprint, New York: Da Capo Press, 1991), 93.

25. Moon, “Paper Butterflies,” 133.

26. Ibid., 141.

27. Henry T. Sampson, The Ghost Walks: A Chronological History of Blacks in Show Business, 1865–1910 (Metuchen, N.J.: Scarecrow Press, 1988), 483.

28. Ibid., 442, 440.

29. Ibid., 438.

30. David Krasner, Resistance, Parody, and Double Consciousness in African American Theatre, 1895–1910 (New York: St. Martin’s Press, 1997), 142.

31. Ibid., 148.

32. According to Errol Hill and James Hatch, “Having a very fair complexion, Isham was often assumed to be white, which gave him a decided advantage in gaining responsible employment, booking shows, or dealing with agents and managers. Errol G. Hill and James V. Hatch, A History of African American Theatre (Cambridge: Cambridge University Press, 2003), 146.

33. Thomas L. Riis, “The Experience and Impact of Black Entertainers in England, 1895–1920,”American Music 4, no. 1 (Spring 1986): 50–58, 52.

34. Washington (DC) Morning Times, November 9, 1896; quoted in Henry T. Sampson, Blacks in Blackface (Metuchen, N.J.: Scarecrow Press, 1980), 65.

35. James Weldon Johnson writes that in 1896, Mr. John W. Isham, the advance agent of the all–African American burlesque show The Creole Show (1890), and The Octoroons (1895), produced Oriental America. “This was a more ambitious production than The Octoroons; for although it was built on the minstrel model, the afterpiece, instead of being made up of burlesque and specialties, cake-walk, ‘hoe-down,’ and walk-around finale, was a medley of operatic selections. Mr. Isham, in addition to having in the company clever performers and pretty girls, had some of the best-trained Negro singers available. He signed Sidney Woodward, who has quite a reputation in Boston as a tenor; J. Rosemond Johnson, then a student of music in the same city; William C. Elkins, Miss Maggie Scott, and several others who had made a study of singing. Miss Inez Clough, who, more recently, has achieved success in Negro dramatic plays, was also a member of the company. The final of the show consisted of solos and choruses from Faust, Martha, Rigoletto, Carmen, and Il Trovatore. Oriental America broke all precedents by being the first coloured show to play Broadway proper; it opened at Wallack’s Theatre, at that time called Palmer’s. Oriental American broke further away from the minstrel pattern than did [Isham’s earlier productions] the Creole Show and The Octoroons, and it was the first coloured show to make a definite break from the burlesque houses” (Black Manhattan, 96–97). David Krasner records somewhat differently that In Dahomey was the first all-black show to perform in a Broadway theater, opening February 13, 1903 (Resistance, Parody, and Double Consciousness, 67), and Gerald Bordman confirms that In Dahomey is “the first full-length musical written and played by blacks to be performed at a major Broadway house (American Musical Theatre, 219). Neither Krasner nor Bordman ever mentions Oriental America as playing in a Broadway theater.

36. Toll, Blacking Up, 197–98.

37. Eileen Southern, “The Georgia Minstrels: The Early Years,” in Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy, ed. Annemarie Bean, James V. Hatch, and Brooks McNamara (Hanover, N.H.: Wesleyan University Press and University Press of America, 1996), 163–78, 166.

38. Richard Waterhouse, “The Minstrel Show and Australian Culture,” Journal of Popular Culture 24, no. 3 (March 2004): 147–66, 158.

39. Toll, Blacking Up, 197–98; “Variety,” New York Clipper, January 5, 1884, 713; Frank Dumont, “The Golden Days of Minstrelsy,” New York Clipper, December 19, 1914, 2–3.

40. Poster for Sam Hague “The Great American Slave Troupe and Japanese Tommy” at the Grand Circus Pavilion, 1869; Women in Jazz archives, Cambrian Indexing Project, Swansea Reference Library, Swansea, Wales, http://www.womeninjazzswansea.org.uk/history/1869.asp (accessed November 21, 2008).

41. “‘Japanese Tommy’s’ Funeral,” New York Times, July 13, 1887, 8.

42. Ibid.

43. Moon, “Paper Butterflies,” 134.

44. Reynolds, Minstrel Memories, 169; Dale Cockrell, Demons of Disorder: Early Blackface Minstrels and Their World (Cambridge: Cambridge University Press, 1997), “Blackface in the Streets,” 30–61.

45. “Things Theatrical,” Wilkes Spirit of the Times, March 16, 1861, 32.

46. Masao Miyoshi, As We Saw Them: The First Japanese Embassy to the United States (1860) (Berkeley: University of California Press, 1979), chaps. 2 and 3.

47. Philadelphia Inquirer, June 15, 1860, and New York Herald, June 17, 1860; quoted in Miyoshi, As We Saw Them, 43.

48. Harper’s Weekly, May 26, 1860; Washington Evening Star, May 14, 1860; Philadelphia Press, June 11, 1860; quoted in Miyoshi, As We Saw Them, 67.

49. “Natural Mistakes,” Harper’s Weekly, June 30, 1860, 416.

50. See Cockrell on Henry Washington Dixon, in Demons of Disorder, chap. 4; or Michael Rogin on Al Jolson, in Blackface, White Noise: Jewish Immigrants in the Hollywood Melting Pot (Berkeley: University of California Press, 1996), chaps. 4 and 5.

51. Chicago Broad Ax, December 9, 1905; quoted in Reginald Kearney, African American Views of the Japanese: Solidarity of Sedition (Albany, N.Y.: State University of New York Press, 1998), 15.

52. Bill V. Mullen, Afro-Orientalism (Minneapolis: University of Minnesota Press, 2004), xx; Prashad, Everybody Was Kung Fu Fighting.

53. Mullen, Afro-Orientalism, xx.

54. L. P. Williams, New York Age, June 4, 1914, 6.

55. R. G. Doggett, “‘The Mikado’ A Success,” New York Age, March 13, 1913, 6.

56. Ibid.

57. Lester A. Walton, “The Critic Criticised,” New York Age, March 27, 1913, 6.

58. “Cooper Okays WPA Theater,” New York Amsterdam News, March 18, 1939, 20.

59. Nahum Daniel Brasher, “The Mikado Rates Season’s Best, Reviewer Pleased with Singing and Acting of Cast,” Chicago Defender, October 1, 1938, 18.

60. Atkinson, “Chicago Unit of the Federal Theatre,’” New York Times, March 2, 1938, 18.

61. C. J. Bulliet, “Negro ‘Mikado’ is Season’s Major Hit, Tom-Tom Mikado Frenzied Theater,” Chicago Daily News, January 19, 1939, 22.

62. Ronald Radano, “Hot Fantasies: American Modernism and the Idea of Black Rhythm,” in Music and the Racial Imagination, ed. Ronald Radano and Philip V. Bohlman, 459–80 (Chicago: University of Chicago Press, 2000), 459.

63. Ibid., 471.

64. Lloyd Lewis, “Mikado Malayed,” Chicago Daily News, September 26, 1938, 14.

65. Rosamond Gilder, “Portraits and Backgrounds: Broadway in Review,” Theatre Arts Monthly, May 23, 1939, 318–29, 326.

66. Langston Hughes, from Autobiography: The Big Sea, in The Collected Works of Langston Hughes, ed. Joseph McLaren (Columbia: University of Missouri Press, 2002), 13:176.

67. Hughes, from The Poems: 1941–50, in The Collected Works of Langston Hughes, ed. Arnold Rampersad (Columbia: University of Missouri Press, 2001), 2:197.

68. Stephen M. Vallillo, “The Battle of the Black Mikados,” Black Literature Forum 16, no. 4 (Winter 1982): 153–57, 155.

69. Fraction, a native of Texas of Mexican and American parentage, played in Harvey’s Greater Minstrels for two years as well as with the Lafayette Players for ten years; he had been recruited by his friend Adolph Gertner, impresario of Yiddish plays in the Midwest, to play in some productions in Yiddish theaters (“Swing Mikado Negro Actor Once Played in Yiddish,” New York Post, 13 May 1939, 8).

70. John Mason Brown, writing for the New York Post, praises “Sammy Dyer’s superbly rhythmic dance numbers with their African overtones” and “Herman Greene’s droll-faced Ko-Ko and Edward Fractions’s cake-walking Mikado” (“The Swing Mikado Comes to Broadway,” New York Post, March 2, 1939, 18).

71. Rogin, Blackface, White Noise, 197.

72. Atkinson, “Chicago Unit of the Federal Theatre.”

73. Kowner, “Lighter Than Yellow,” 113.

74. George Bigot, Japanese Album of Etchings, Japanese Life and Character, Yokohama (1893), in T. Haga, I. Shimizu, T. Sakai, and K. Kawamoto, Bigot sobyo korekushon 1, 2, 3 (Tokyo: Iwanami Shoten, 1989).

75. The Widow Twankay, still a popular tradition, was first popularized in the 1861 burlesque by Henry Byron, Aladdin or The Wonderful Scamp, with Twankay named after a Chinese port famous for the tea trade.

76. Anonymous, “Ebony Rose,” in Christy’s Nigga Songster, as Sung by Christy’s, Pierce’s, White’s, and Dumbleton’s Minstrels (New York: T. W. Strong, 1850); electronic edition published by Stephen Railton, Institute for Advanced Technology in the Humanities, Electronic Text Center Pubplace, Charlottesville, Virginia, 2000, at http://www.iath.virginia.edu/utc/minstrel/gallchrsf.html.

77. John Mason Brown, “Bill Robinson Appears in The Hot Mikado,” New York Post, March 24, 1939.

78. Brooks Atkinson, “Bill Robinson Tapping Out the Title Role in ‘The Hot Mikado’ at the Broadhurst Theatre,” New York Times, March 24, 1939, 26.

79. “New Play in Manhattan,” Time magazine, April 3, 1939, 23.

80. “Hot Mikado,” Variety, March 29, 1939, 42.

81. Richard Watts Jr., “The Theater: Swing and Hot in Tipitu,” New York Herald Tribune, April 2, 1939, sec. 6, p. 1.

82. Geoffrey Parsons Jr., “Six Times Eyewitness of Swing Mikado,” New York Herald Tribune, February 26, 1939, sec. 6, p. 1. Greene was recognized by reviewer Dorothy Day for his previous role in Little Black Sambo, a children’s play by Charlotte Chorpenning, running concurrently with Swing Mikado at Great Northern Theatre from August 29, 1938, through June 30, 1939: “Herman Greene, who did such a good job as the father of ‘Little Black Sambo,’ gives a vaudeville impression of Ko-Ko but continues to be a likable and genial gent.” Day, “This ‘Mikado’ Unconvincing.”

83. Atkinson, “Bill Robinson Tapping Out the Title Role.”

84. Williamson, Gilbert and Sullivan Opera, 166.

85. Lott, Love and Theft, 118–19.

86. Marshall Stearns and Jean Stearns, Jazz Dance: The Story of American Vernacular Dance (New York: Da Capo Press, 1994), 332.

87. Yoshihara, Embracing the East, 100.

88. Karen Sánchez-Eppler, Touching Liberty: Abolition, Feminism, and the Politics of the Body (Berkeley: University of California Press, 1993), 133, 134.

89. “Tropical Pinafore,” Time, April 22, 1940.

90. Derek Jewell, “The Key to a Musical,” London Sunday Times, May 4, 1975.

91. Harold Hobson, “Blithe Spirit,” London Sunday Times, May 11, 1975, 39.

92. Clive Barnes, “‘A Little Night Music’ Goes Cockney to London’s Delight,” New York Times, September 17, 1975, 41.

93. Alain Locke, “The Negro’s Contribution to American Culture,” Journal of Negro Education 8, no. 3 (July 1939): 521–29, 529.

94. Ibid., 527.

95. Susan Gubar, Racechanges: White Skin, Black Face in American Culture (Oxford: Oxford University Press 1997), 31.

96. Fraden, Blueprints for a Black Federal Theatre, 195.

97. The Hot Mikado, souvenir program at the New York World’s Fair, p. 10, number 11 in file MWEZ and n.c. 15,400. Billy Rose Theatre Collection, Performing Arts Research Center at Lincoln Center.

98. Cholly Atkins and Jacqui Malone, Class Act: The Jazz Life of Choreographer Cholly Atkins (New York: Columbia University Press, 2001), 43.

99. Ibid., 44.

100. Ibid., 45.

1. Toll, Blacking Up, 172.

2. Advertisement, Chicago Tribune, October 25, 1885, 6.

3. William J. Mahar notes the frequency of the appearance of Italian and English songs in blackface and suggests that this points to both “a shared concern about whether the United States had or could have a national culture” and “a nativist critique of foreign cultural imports that were the markers of the growing consciousness of class distinctions based on wealth and taste similar to those common to England.” Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture (Champaign: University of Illinois Press, 1998), 151, 156.

4. Bordman, American Musical Theatre, 188.

5. Baily, The Gilbert & Sullivan Book, 414–15.

6. Gilder, “Portraits and Backgrounds: Broadway in Review,” 327.

7. Batiste, “Darkening Mirrors,” 248.

8. Christina Klein, Cold War Orientalism: Asian in the Middlebrow Imagination, 1945–1961 (Berkeley: University of California Press, 2003), 183.

9. Will B. Johnstone, “Swing Explodes Mikado Myth,” New York World Telegram, April 8, 1939, 6.

10. Hedy Weiss, “Multicultural ‘Mikado’ Heats Up the Stage” Chicago Sun-Times, April 24, 2003, 41.

11. Lyn Gardner on the 2006 Watermill Theatre (Newbury, U.K.) production of The Hot Mikado, The Guardian, July 19, 2006, 34.

12. Rhoda Koenig, “Theatre: They should Ko-Ko,” Independent, June 2, 1995, 25.

13. Alastair Macaulay, “Gilbert and Sullivan Syncopated,” London Financial Times, May 26, 1995, Arts, p. 15.

14. Steven Winn, “Gilbert and Sullivan in Dancing Shoes: ‘Hot Mikado’ a Jazzy Update in San Jose,” San Francisco Chronicle, October 27, 1998, D6.

15. Richard Christiansen, “‘Hot Mikado’: Gilbert and Sullivan Meet the Energizer,” review of Chicago Marriott’s Lincolnshire Theatre, Chicago Tribune, June 25, 1993, 28.

16. Macaulay, “Gilbert and Sullivan Syncopated.”

17. Koenig, “Theatre: They should Ko-Ko.”

18. Lott, Love and Theft, 27, 25.

19. Weiss, “Multicultural ‘Mikado’ Heats Up the Stage.”

20. Koenig, “Theatre: They should Ko-Ko.”

21. Jeremy Kingston, “Mighty Troupers of Titipu,” London Times, 27 May 1995, 1.

22. Later in the production, the Mikado himself pulls the same stunt, according to J. Wynn Rousuck, “‘Hot Mikado’ Offers Cuteness but Its Sizzle Is Spotty,” Baltimore Sun, June 3, 1994, 24.

23. Louise Sweeney, “New ‘Hot Mikado’ passes up operetta’s charm,” Christian Science Monitor, April 4, 1986, Arts and Leisure, 23.

24. Dan Hulbert, “Hot Mikado,” Atlanta Constitution, August 28, 1997, D1.

25. “Q. H.” comments that the film is “hardly a serious contribution to the lengthening history of Savoy Opera.” Review of The Cool Mikado, Gilbert and Sullivan Journal 8, no. 11 (May 1963): 170.

26. Melani McAlister, Epic Encounters: Culture, Media, and U.S. Interests in the Middle East, 1945–2000 (Berkeley: University of California Press, 2001), 30, 40.

27. Lee, Orientals, 167, 85.

1. Antony Best, “A Royal Alliance: Court Diplomacy and Anglo-Japanese Relations, 1900–41,” symposium paper presented at the Suntory and Toyota International Centres for Economics and Related Disciplines, London School of Economics and Political Science,” February 23, 2006, p. 23, available at http://sticerd.lse.ac.uk/dps/is/is512.pdf (accessed January 22, 2007).

2. Sidney Dark and Rowland Grey, W. S. Gilbert: His Life and Letters (1923; repr., New York: Benjamin Blom, 1972), 100–101.

3. Editorial, Pall Mall Gazette, May 1, 1907; quoted in Andrew Goodman, “The Fushimi Incident: Theatre Censorship and The Mikado,” Journal of Legal History 1. no. 3 (December 1980): 297–302, 301–2.

4. Baily, The Gilbert & Sullivan Book, 393.

5. Ibid.

6. Ibid.

7. Ibid.

8. This was written in 1908, but not published until 1921. Gilbert Sullivan, The Story of The Mikado, illus. Alice B. Woodward (London: Daniel O’Connor, 1921), 1–2.

9. Ibid., 92.

10. See Kowner, “Lighter Than Yellow.”

11. William Elliot Griffis, The Mikado: Institution and Person; A Study of the Internal Political Forces of Japan (London: Humphrey Milford Oxford University Press, 1915), 16.

12. Gina Marchetti, Romance and the “Yellow Peril” (Berkeley: University of California Press, 1993), 2.

13. Colleen Lye, America’s Asia: Racial Form and American Literature, 1893–1945 (Princeton, N.J.: Princeton University Press, 2005), 19.

14. Jack London, “The Yellow Peril,” in Revolution and Other Essays (New York: Macmillan 1910), 261–89, 281.

15. New York Times, April 25, 1943.

16. Baltimore Sun, July 27, 1945.

17. Beatty-Kingston, Theatre, April 1, 1885; quoted in Baily, The Gilbert & Sullivan Book, 248.

18. Philipp Franz von Siebold, Manners and Customs of the Japanese: Japan and the Japanese in the Nineteenth Century; From Recent Dutch Travels, Especially the Narrative of Von Siebold (London: John Murray, 1852), 198–99.

19. Peter G. Davis, “‘Penzance’ As You Like It,” New York Times, May 17, 1981, A37.

20. Frederik L. Schodt, America and the Four Japans (Berkeley, Calif.: Stone Bridge Press, 1994), 65.

21. Alvin Klein, “Mikado, Inc.,” New York Times, June 17, 1990, A15.

22. Mark Mobley, “The ‘Not Mikado’ Plugs in Gilbert and Sullivan Operetta,” Virginian Pilot, January 17, 1993, G7.

23. Andrew Porter, “Musical Events, Too-looral-lay!” New Yorker, May 30, 1983, 92–97, 97.

24. Dorothy Samachson, “Report from Chicago,” in “Our Critics Abroad,” Opera 34, no. 9 (September 1983): 979–80, 979.

25. John von Rhein, “‘Mikado’ Makes Wicked Mockery of Modern Manners,” Chicago Tribune, May 13, 1983, sec. 3, p. 1.

26. John von Rhein, “Improved ‘Mikado” a Sojourn of Outrageous Fun,” Chicago Tribune, May 16, 1983, sec. 2, p. 7.

27. Samachson, “Report from Chicago,” 979.

28. Von Rhein, “Improved ‘Mikado.’”

29. Donal Henahan, “Music View; Just What Are the Motives for This Irreverent ‘Mikado’?” New York Times, May 22, 1983, A23.

30. Robert Jacobson, “Report from Chicago,” Opera News 48, no. 2 (August 1983): 35–36, 36.

31. Porter, “Musical Events, Too-looral-lay!” 95.

32. Quoted in Kowner, “Lighter Than Yellow,” 7–8.

33. Susan McClary, foreword to Opera, or The Undoing of Women, by Catherine Clément, trans. Betsy Wing (Minneapolis: University of Minnesota Press, 1988), xvii.

34. The Gilbert and Sullivan discography Web site reports that “the film was by Swank Telefilms (supported by Australian Film Development Corporation). It was distributed by Wonderland Video, and sold by Paragon Video Productions (1982)”; at http://www.cris.com/~oakapple/gasdisc/mdtitipu.htm (accessed July 22, 2008).

35. Cast list for 1998 Catchment Players (Victoria, Australia) Hot Mikado.

36. Rebecca J. Ritzel, “Gilbert and Sullivan Swing in Pulton’s ‘Hot Mikado,’” Lancester (PA) Intelligencer Journal, March 5, 2004, 1.

37. Review of Musical Theatre West (Long Beach, California) 2004 Hot Mikado; David C. Nichols, “Hepcats Spin a ‘Hot Mikado,’” Los Angeles Times, February 27, 2004, E30.

38. Henahan, “Music View.”

39. George Grossmith did his pratfalls in “The Flowers That Bloom in the Spring,” while Henry Lytton used the same song for his famous “toe business”; see Harold Orel, ed., Gilbert and Sullivan: Interviews and Recollections (Iowa City: University of Iowa Press, 1994), 172, 190.

40. Williamson, Gilbert and Sullivan Opera, 164.

41. Ibid., 166.

42. Letter from Rupert D’Oyly Carte, London Times, May 28, 1948; quoted in Bradley, Complete Annotated Gilbert and Sullivan, 572.

43. J. M. Balkin and Sanford Levinson, “Interpreting Law and Music: Performance Notes on ‘The Banjo Serenader’ and ‘The Lying Crowd of Jews,’” (1999), 1–56, 12; electronic version of essay at http://www.yale.edu/lawweb/jbalkin/articles/interp1.pdf (accessed December 8, 2007).

44. G. K. Chesterton, “Gilbert and Sullivan,” in The Eighteen Eighties, ed. Walter de la Mare, 136–58 (Cambridge: Cambridge University Press 1930), 152.

45. Ibid., 152–53.

46. “Wigs Are the Key,” electronic discussion from “The Gilbert and Sullivan Archive,” at http://math.boisestate.edu/gas/Mikado/discussion/6_1.html#6.2.5 (accessed May 20, 2003). The archive was a compilation of thoughts of subscribers to Savoynet Maillist between April 17 and May 17, 1997. Many of the subscribers were clearly experienced performers or directors of Gilbert and Sullivan, as well as fans.

47. Interview with Michael Romain, “Work in Progress: A Dialogue with Jonathan Miller,” in Michael Romain, A Profile of Jonathan Miller (Cambridge: Cambridge University Press 1992), 66.

48. Ibid., 157.

49. Kondo, About Face: Performing Race in Fashion and Theater (New York: Routledge, 1997), 251.

50. Ibid., 253.

51. Ibid.

52. “Cheap Pickets,” Mikado discussion from “The Gilbert and Sullivan Archive,” at http://math.boisestate.edu/gas/Mikado/discussion/6_2.html#6.4 (accessed May 20, 2003).

1. Susan Bennett, Performing Nostalgia: Shifting Shakespeare and the Contemporary Past (London: Routledge, 1996), 12.

2. Interview with Catherine Ceniza Choy, Minneapolis, March 29, 2007.

3. If You Want to Know What We Are: A Carlos Bulosan Reader, ed. E. San Juan Jr. (Minneapolis: West End Press, 1983), 78–79.

4. Harriet Brown, “Authentic ‘Mikado’ Gorgeous, Exciting,” Madison Capital Times, February 22, 2003; online version at http://www.madison.com (accessed May 20, 2003).

5. Michael Penn, “Mixed Media,” On Wisconsin, Wisconsin Alumni Association; http://www.uwalumni.com/onwisconsin/winter02/arts.html (accessed November 10, 2003).

6. Ibid.

7. Michael Penn, “Kabuki Director Reclaims Mikado for Japan,” Japan Journal, Japan Information Center, Consulate General of Japan at Chicago (December 2002/January 2003), 2.

8. Michael Billington review of 2002 Savoy production, directed by Ian Judge, Guardian Unlimited, July 2, 2002, at http://www.guardian.co.uk/arts/critics-review/0,1169,747824,00.html (accessed May 20, 2003).

9. Julie Holledge and Joanne Tompkins, Women’s Intercultural Performance (London: Routledge, 1995), 12.

10. Una Chaudhuri, “The Future of the Hyphen: Interculturalism, Textuality, and the Difference Within,” in Interculturalism and Performance: Writings From PAJ, ed. Bonnie Marranca and G. Dasgupta (New York: Performing Arts Journal, 1991), 196.

11. Robert Young, Colonial Desire: Hybridity in Theory, Culture, and Race (London: Routledge, 1995).

12. Holledge and Tompkins, Women’s Intercultural Performance, 114.

13. Rhustom Bharucha, The Theater and The World: Performance and the Politics of Culture (London: Routledge, 1993), 2.

14. Jacob Stockinger, “UW Director Strives for Authenticity,” Capital Times, February 21, 2003; at http://www.madison.com (accessed May 5, 2003).

15. John Berger, “‘Mikado’ Revels as Un-PC,” Honolulu Star Bulletin, August 6, 2004, at http://archives.starbulletin.com/2004/08/06/features/story1.html (accessed January 9, 2007).

16. Ibid.

17. Mari Yoshihara, Musicians from a Different Shore: Asians and Asian Americans in Classical Music (Philadelphia: Temple University Press, 2007), 213.

18. Ibid.

19. Ibid.

20. John Berger, “‘Mikado’ Revels as Un-PC.”

21. “Hawaii Opera Theatre’s ‘The Mikado,’” newsletter of the Japan-America Society of Hawaii, Japan-America Journal 22, no. 3 (Fall 2004), at http://www.jashawaii.org/nl200403.asp#18 (accessed January 9, 2007).

22. Janos Gereben, “Ho’okani hana keaka: A History of Opera in Hawaii” (1973; appendix, 1999): 1–23, 20; electronic version at http://home.earthlink.net/~janos451/hot1223.htm (accessed September 3, 2007).

23. Ibid., 8.

24. E. Douglas Bomberger, “Taiko Drums and Gag Lines Add Local Flavor to Operetta,” Honolulu Star-Bulletin, August 9, 2004, at http://archives.starbulletin.com/2004/08/09/features/story2.html (accessed January 9, 2007).

25. Rodney Morales, “Literature,” in Multicultural Hawai’i: The Fabric of a Multiethnic Society, ed. Michael Haas (New York: Garland, 1998), 116.

26. Jonathan Okamura, “Social Stratification,” in Haas, Multicultural Hawai’i, 200–201.

27. Doris Baizley and Ken Narasaki, The Mikado Project, Lodestone Theatre, Los Angeles, 2007.

28. Esther Kim Lee, A History of Asian American Theatre (Cambridge: Cambridge University Press, 2006), 3.

1. François Cellier and Cunningham Bridgeman, Gilbert and Sullivan and Their Operas, 191.

2. The Milton Aborn Operatic Companies, brochure, circa 1922, from the University of Iowa Special Collections digital collection, Traveling Culture: Circuit Chautauqua in the Twentieth Century, records of the Redpath Chautauqua Collection, at http://sdrcdata.lib.uiowa.edu/libsdrc/details.jsp?id=/miltona/1.

3. For Miura, for instance, “the Japanese Butterfly, the opera provided an international stage on which she could demonstrate her nation’s rise to power and also allowed her to live a life that was quite atypical of Japanese women of the time.” Mari Yoshihara, “The Flight of the Japanese Butterfly: Orientalism, Nationalism, and Performances of Japanese Womanhood,” American Quarterly 56, no. 4 (Dec 2004): 975–1001, 997.

4. “Criterion Theatre,” London Times, July 8, 1901, 3; quoted in Lesley Downer, Madame Sadayakko: The Geisha Who Bewitched the West (New York: Gotham Books, 2003), 185.

5. The Milton Aborn Operatic Companies brochure.

6. Naoki Inose, Mikado no Shōzō (A Portrait of the Mikado) (Tokyo: Shin-chosha, 1992), chap. 9; Sumiko Enbutsu, “The Mikado in the Town of Chichibu,” East 38, no. 6 (March/April 2003): 6–11, 7.

7. James E. Hoare, Japan’s Treaty Ports and Foreign Settlements: The Uninvited Guests, 1858–1899, Meiji Japan Series, 1 (Folkestone, Kent: Japan Library, 1994), 42–43.

8. Enbutsu, “The Mikado in the Town of Chichibu,” 7.

9. Masahiko Masumoto, “Foreign Theatres and The Mikado: Japonism Produced in Japan,” in Ibunka e no shisen: Atarashii hiraku bungaku no tame ni, ed. Hideaki Sasaki (Nagoya, Japan: University of Nagoya Press, 1996), 59–76.

10. See Arthur Groos, “Return of the Native: Japan in ‘Madama Butterfly/ Madama Butterfly’ in Japan,” Cambridge Opera Journal 1, no. 2 (July 1989): 167–94.

11. The Chicago Tribune reports the opening as August 12 (“‘The Mikado’ Opens in Tokyo for Allies; Japs Can’t Attend,” Chicago Daily Tribune, August 13, 1946, 14), while the New York Times describes a performance on July 22 (“Army Group to Present ‘The Mikado’ in Tokyo,” New York Times, July 11, 1946, 25).

12. “Army Group to Present ‘The Mikado’ in Tokyo.”

13. Joseph Raben, “The Mikado in Japan as Recalled in 1998,” Gilbert and Sullivan Archive, at http://math.boisestate.edu/gas/mikado/html/mikado_japan.html (accessed December 7, 2006).

14. “Role of Mikado Taken in Tokyo by Suburban GI,” Chicago Daily Tribune, September 8, 1946, W3.

15. Though scheduled to tour other military sites, the production ran into technical difficulties in part because of its elaborate design. Raben reported: “Later that year, awaiting discharge in Fort Ord, California, I met the sergeant of the squad that was in charge of the Japanese staff that ran the Ernie Pyle. He told me that the production had been scheduled to tour all the major US Army establishments in Japan (and probably those of the other occupying powers), but that the sets had been designed to fit into American-style freight cars, and the Japanese railroads at that time all were the narrow-gauge type, much too small to accommodate the scenery. So the entire run was limited to those three nights in Tokyo. According to the sergeant, the lieutenant in charge of the theater was court-martialed.” These claims are disputed, though, by Robert S. Telford, the administrative officer for the Ernie Pyle (1st Lt, Infantry, World War II) who calls them “entirely baseless” (Robert S. Telford, Gilbert Sullivan Archive).

16. Raben, “The Mikado in Japan as Recalled in 1998.”

17. “Role of Mikado Taken in Tokyo by Suburban GI.”

18. “‘The Mikado’ Opens in Tokyo for Allies,” Chicago Daily Tribune, August 13, 1946, 14.

19. “GIs play ‘Mikado’ in Tokyo: Opera, banned for 61 years in Nippon, is put on with Japanese help,” Life magazine, September 9, 1946, 42–43.

20. The New York Times noted Ito as a “former Hollywood dance director, whose son served in the American Navy during the recent war.” “‘Mikado’ Seen in Tokyo,” New York Times, January 30, 1948, 21.

21. For example, John Mason Brown praised Ito’s choreography for L.A. versions of The Mikado: “They flow easily from one enchanting composition into another, without ever having a self-conscious or stiff pictorial quality.’’ “The Dull Devil of Melodrama: Broadway in Review,” Theatre Arts Monthly, October 1927, 826.

22. “No Mikado, Much Regret,” Time magazine, June 16, 1947, 40.

23. “‘Mikado’ Seen in Tokyo.”

24. Baily, The Gilbert & Sullivan Book, 426.

25. Raben, “The Mikado in Japan.”

26. John W. Dower, Embracing Defeat: Japan in the Wake of World War II (New York : WW. Norton and Company, 1999), 23.

27. Ibid., 211–12.

28. Katawake Shigetoshi, “Kabuki Tsuihō no Kiroku” (Record of Kabuki’s banishment), Engekikai 1 (January 1961): 35–36; quoted in Shiro Okamoto, The Man Who Saved Kabuki: Faubion Bowers and Theatre Censorship in Occupied Japan, trans. and adapted by Samuel L. Leiter (Honolulu: University of Hawai‘i Press, 2001), 59.

29. Inose, Mikado no Shōzō, 395–96.

30. “Role of Mikado Taken in Tokyo by Suburban GI.”

31. ‘The Mikado’ Opens in Tokyo for Allies; Japs Can’t Attend.”

32. “Japanese Laugh Heartily as ‘The Mikado’ is Shown,” New York Times, August 12, 1946, 9.

33. “Japan May See ‘Mikado,” New York Times, June 16, 1947, 25.

34. “‘Mikado’ Seen in Tokyo,” New York Times, January 30, 1948, 21.

35. “No Mikado, Much Regret,” Time magazine, June 16, 1947, 40.

36. Unsigned editorial, “Double Unreality,” New York Times, February 3, 1948, 24.

37. “The Mikado at the National Theatre: Performed by the Nagato Miho Opera Company,” Asahi Shimbun, January 5, 1970, 9.

38. Klein, Cold War Orientalism, 9.

39. Ibid., 16.

40. Lucy Herndon Crockett, Popcorn on the Ginza: An Informal Portrait of Postwar Japan (New York: William Sloane Associates, 1949), 112; quoted in Naoko Shibusawa, America’s Geisha Ally: Reimagining the Japanese Enemy (Cambridge, Mass.: Harvard University Press, 2006), 16.

41. Ibid., 259.

42. “Fujiwara Opera Company,” Christian Science Monitor, August 28, 1956, 5.

43. “Fujiwara Opera Company Performs in Europe,” Yomiuri Shimbun, August 31, 1960, 5.

44. Albert Goldberg, “The Sounding Board: Realism Marked in ‘Madame Butterfly,’” Los Angeles Times, November 17, 1956, B2.

45. “‘Mikado’ Sent Over by Japan,” Los Angeles Times, November 19, 1956, C11.

46. Ibid.

47. “Fujiwara Opera Seen in ‘Mikado,’” Hartford Courant, October 25, 1956, 14A.

48. “Gilbert’s Lyrics Elude Park’s Tokyo Visitors,” Washington Post, August 30, 1956, 41.

49. “Old Operetta on Tour,” Time, October 29, 1956, 100.

50. “Fujiwara Opera Seen in ‘Mikado,’” Hartford Courant, October 25, 1956, 14A.

51. Ibid.

52. “Gilbert’s Lyrics Elude Park’s Tokyo Visitors.”

53. “No Mikado, Much Regret.”

54. Mari Yoshihara, Musicians from a Different Shore, 31–32.

55. Keizō Horiuchi, “Kageki ‘Madamu Batafurai’ Jōen ni tsuki,” n.t., [1930], 76. Aymada Kōsaku Collection, Microfilm 90, Scrapbook 16, frame 290. Nihon Kindai Ongakukan, quoted and translated in Yoshihara, Musicians from a Different Shore, 31.

56. “Katakoto majiri de Kokujoku Kaifuku no Iki” [With Smattering of English, Actress Determined to Rectify National Humiliation], n.t., [1930], n.p. Yamada Kōsaku Collection, Microfilm 90, Scrapbook 16, frame 285; quoted and translated in Yoshihara, Musicians from a Different Shore, 31.

57. “‘Ochō Fujin’ wo Miru,” n.t., [1930], n.p. Yamada Kōsaku Collection, Microfilm 90, Scrapbook 16, frame 288; quoted and translated in Yoshihara, Musicians from a Different Shore, 31.

58. Yoshihara, Musicians from a Different Shore, 47.

59. Groos, “Return of the Native,” 186.

60. “Old Operetta on Tour,” Time magazine, October 29, 1956, 100.

61. “Gilbert’s Lyrics Elude Park’s Tokyo Visitors,” Washington Post, August 30, 1956, 41.

62. “Fujiwara Opera Seen in ‘Mikado,’” Hartford Courant, October 25, 1956, 14A.

63. “Old Operetta on Tour,” Time magazine.

64. According to Alison J. Ewbank and Fouli Papageorgiou, Yoshie Fujiwara was first trained in the Asakusa Opera. Alison J. Ewbank and Fouli Papageorgiou, Whose Master’s Voice? The Development of Popular Music in Thirteen Cultures (Green-wood, Conn.: Greenwood Press, 1997), 159.

65. Ken K. Ito, Visions of Desire: Tanizaki’s Fictional Worlds (Stanford, Calif.: Stanford University Press, 1991), 67.

66. Tanizaki Jun’ichirō, Tanizaki Jun’ichirō zenshū, 28 vols. (Tokyo: Chūō Kōronsha, 1966–70) 7:86; quoted in Ito, Visions of Desire, 72.

67. Ito, Visions of Desire, 72.

68. Ibid., 71–72.

69. According to Natsuko Inoue, the other two are Hanagumi Shibai (Flower Group Theater), founded by Yukikazu Kanō in 1987, and Gekidan Chōjū Giga (Caricature of Birds and Beasts Company) founded by Masabumi Chinen in 1975. Natsuko Inoue, “New (Neo) Kabuki and the Work of Hanagumi Shibai,” in A Kabuki Reader: History and Performance, ed. Samuel Leiter, 186–207 (New York: M. E. Sharpe, 2002), 187.

70. Ibid.

71. This and other information on Super Ichiza is from a letter of August 23, 2007, from Shinichi Iwata to Yuko Matsukawa, translated by Yuko Matsukawa.

72. Ibid.

73. Promotional flyer for Super Ichiza’s production of The Mikado, 1992, translated by Yuko Matsukawa.

74. Tanizaki, Tanizaki Jun’ichirō zenshū, 7:89; quoted in Ito, Visions of Desire, 73.

75. Ibid., 73.

76. Enbutsu, “The Mikado in the Town of Chichibu,” 7–8.

77. Quoted in Yukiko Kisinami, “‘Mikado’ Returns Home to Chichibu,” Daily Yomiuri, March 13, 2003, 15.

78. “To the Deceased Teacher: The Operetta Performance Last Month in Chichibu,” Asahi Shimbun (Saitama), April 1, 2001, 1.

79. Minoru Okamoto, “The Mikado in Commemoration of the 50th Anniversary of the City’s Incorporation,” Nihon Keizai Shimbun, March 15, 2001, 8.

80. James Brooke, “Japanese Hail ‘The Mikado,’ Long-banned Imperial Spoof,” New York Times, April 3, 2003, A8.

81. Ibid.

82. “The Homemade Operetta by Citizens of ‘Titipu’ in Chichibu,” Asahi Shimbun (Saitama), February 8, 2001, 2.

83. Comments on the production at the International Gilbert and Sullivan Festival in Buxton, England, from David Sandham’s Gilbert and Sullivan Web site, at http://myweb.tiscali.co.uk/sandham/buxton_200631.htm (accessed December 12, 2006).

84. Japan Weekly Mail, April 30, 1887; in Masahiko Masumoto, “A Production History of The Mikado in Japan, 1885–1946,” Kan Taiheiyou Mondai Kenkyu, March 1988, 177–207, quote on 197–98.

85. The Rising Sun and Nagasaki Express, May 11, 1887; quoted in Masumoto, “A Production History of The Mikado in Japan,” 202.

86. Japan Daily Herald Mail Summary, May 4, 1887; and Hiogo News, May 4, 1887; quoted in Masumoto, “A Production History of The Mikado in Japan,” 199, 201.

87. Japan Weekly Mail, April 30, 1887; quoted in Masumoto, “A Production History of The Mikado in Japan,” 198.