Titipu. Medieval court and government of the emperor of Japan. Titipu represents a microcosm of Japan. Its officials and functionaries are myriad and coexist in a Byzantine complexity of rules and regulations; this milieu is meant to satirize the Victorian bureaucracy of Great Britain during the era in which the play was first produced. The settings are stereotyped to resemble the many Japanese decorative objects being imported into Britain at that time. Examples of high Japanese art were also on display in London museums and had created a craze for Japanese things in the moneyed middle and upper classes. The two scenes set in Titipu reflect these Japanese influences, both paying homage to and satirizing them as the temporary passions of the wealthy.
Ko-Ko’s palace. The palace courtyard, appearing in the opening act of the play, is magnificent, as befits the Lord High Executioner of Titipu. It thus satirizes the needless largesse expended on government functionaries in the Victorian era.
Ko-Ko’s garden. The garden scene of act 2 provides the backdrop for the heroine Yum-Yum’s preparation for her wedding to the wandering minstrel Nanki-Poo, who is really the Mikado’s son in disguise. The garden is also the scene of the Mikado’s magnificent entrance, which paves the way for a happy marriage. The wedding occurs after Nanki-Poo is threatened with execution and Ko-Ko is married to the odious Katisha, who wanted to marry Nanki-Poo herself. All ends happily in a setting straight from a book of Japanese fairy tales.