"If you want to know who we are, we are/We are gentlemen of Japan/and we play jazz trombone and guitar." Thus begins the Watermill's new production of Hot Mikado. Savoyards will note that already there's a change to W.S. Gilbert's original lyrics: it's a most appropriate change too, for each 'Japanese Nobleman' brandishes a musical instrument.

So this is familiar Watermill musical territory the string of hit shows staged by John Doyle and Sarah Travis have all featured multi-skilled casts, with every member expected to act, sing, dance, and play at least two musical instruments to top professional standards. There's one change this time, however: Doyle is replaced as director and choreographer by Craig Revel Horwood, the alarmingly frank judge on BBC TV's Strictly Come Dancing. The Watermill style has been grafted on to David H.Bell and Rob Bowman's Hot Mikado, first staged in Washington DC in 1985, and in London in 1995.

And very well it works too, with Sarah Travis's skill in arranging music to fit both the production and the talents of the actor/musicians everywhere apparent. Ms Travis who recently won a Tony award for the Broadway production of the Watermill's Sweeney Todd also acts as musical director, for she is seated at an on-stage grand piano throughout, making sure that the tempi are, indeed, hot. Clad in an appropriate costume and a saucy hat, she even gets a new name Ting-Tong.

Gilbert's words remain unchanged, apart from appropriate updates Ko-Ko's little list suggests that World Cup footballers: "they'd none of 'em be missed," for instance. On press night not quite every syllable was audible the 13-strong cast/band ratchet up a very considerable number of decibels when at full blast in this tiny space, making it difficult for vocal solos to be heard at times, even though radio mics are used. But who'd want to lose any of the pulsating score, which ranges from jazz to big band, with touches of rock and soul mixed in.

It's almost impossible to believe that the cast has achieved such a high standard on only four weeks' rehearsal. The ensemble playing is pin-sharp, every musical entry spot-on, the enthusiasm palpable. Clive Revel Horwood's choreography is wisely kept comparatively low-key the chances of belting your neighbour by mistake are considerable.

It really is invidious to single out individuals, but Nicola Hughes's highly sexed Yum-Yum , and Ian Conningham's skin head, cynical Pooh-Bah have to be mentioned as does Karen Mann's Katisha, truly the stuff of which nightmares are made.

This explosion of colour, talent, and fun seems tailor-made to move on to larger theatres. It's a huge irony, therefore, that a planned tour has had to be scrapped owing to lack of funding. So book quickly at the Watermill, near Newbury, where Hot Mikado is on until September 2.