By no stretch of the imagination does Boarstall Tower look as if it’s a Japanese pagoda. But on a lovely, sunlit evening, its glowing stonework provided a beautiful backdrop to an outdoor performance of Gilbert and Sullivan’s The Mikado — mounted as part of a festival celebrating Boarstall’s 700th birthday. Coming across Charles Court Opera’s Mikado by chance, Boarstall tenants Rob and Pam Dixon decided to book the production. It was easy to see why: the nine-strong company put a compelling zest into their work, as well as showing a strong regard for G&S’s original genius. Firmly backed by the Eaton-Young Piano Duo, the singing was open-voiced and clearly enunciated, while the acting was blessedly free from irritating mannerisms.

Nanki-poo introduces himself as “a wandering minstrel I”. Kevin Kyle put great feeling and ardour into the role, his love for Yum-Yum never in doubt. A peal of giggles preceded the arrival of Yum-Yum herself (Nicola Pulford), plus her fellow wards Pitti-sing (Nichola Jolley) and Peep-bo (Charlotte Baptie). This vibrant trio set the stage alight. Meanwhile the necessity of holding an execution becomes a concern to Ko-Ko (Lord High Executioner) and Pooh-bah (Lord High Everything Else). Most Ko-Ko’s I have seen put on a posh accent to hide the fact that they have risen from trade, but Philip Lee’s Ko-Ko openly wears his tailor’s tape measure round his neck. It makes his relationships with Pooh-bah (John Savournin, a slimy politician), Pish-Tush (Sebastian Valentine) and Simon Masterton-Smith’s amiable Mikado all the more interesting. But the performance of the evening was Susan Moore’s Katisha: the way she turned a viperous snarl into a radiant smile as she finally landed her man will long remain with me.