Oxfordshire Youth Music Theatre's sizzling new production of Hot Mikado at the Oxford Playhouse last week was hot stuff indeed. It was a fresh, lively and visually stunning treat that was positively bursting with energy and enthusiasm.

This jazzed-up, sexed-up version of the G&S classic has endured well since its original creation by Mike Todd in the 1930s and its subsequent adaptation in 1986 by David H. Bell and Rob Bowman, and this young cast was clearly relishing every moment, capturing the swinging, bluesy spirit of the piece to perfection.

The choreography, by Maria Robertson and Helen Gould, contributed greatly to the success of the production and was executed with slick professionalism by the cast, particularly the chorus, who play a much more active part in the proceedings that traditional G&S choruses.

In fact, the chorus was particularly impressive throughout, both musically and choreographically, and the gorgeous costumes worn by the girls helped to create a visual feast.

Among the talented principal line-up, the most memorable portrayal was 16-year-old James Baker's Pooh-Bah. This was a rather more jovial character than Gilbert's original, pompous creation, and Baker brought him vibrantly to life, with an intelligent interpretation of the text and droll appreciation of Gilbert's wit.

Another fine performance came from Adam Jones as Ko-Ko, and he managed a very creditable account of the Little List song, with appropriately updated lyrics. In comparison, Stephen Hosking's Nanki-Poo appeared a little hesitant at times, but he had a wonderful singing voice, and his opening solo, A Wandering Minstrel I, was particularly well done.

Catherine Jones was a feisty Yum-Yum, and she was well supported by Rosie David as Pitti-Sing and Jenna Elliott as Peep-Bo. There were strong performances, too, from Emily Kay as Katisha and Charles Worthy as the Mikado, while Tom Pye made something of the rather unrewarding role of Pish-Tush.

This was a hugely enjoyable production - fast-moving, colourful and fun, and obviously meticulously rehearsed. But what impressed more than anything was the cast's unquenchable enthusiasm and sheer joy of performing.

It was no surprise to see in the programme notes that most of the cast hope to pursue musical or theatrical careers, and that many former members of the company are already performing in the West End or with national opera companies. After seeing the talent on display in Hot Mikado, I have little reason to doubt that some cast members are destined for similar success.