Beersheba, Heichal Hatarbut, March 10. FORGET about kimonos and rickshaws. This Mikado has been thoroughly revamped, and brought up-to-date.

Even the lyrics to "I've Got a Little List" and "My Object All Sublime" have been rewritten, with apologies to Gilbert, and adapted to the Israeli scene. Yardena Alkan's beautiful, sky-blue painted background portrays skyscrapers lining a bayside city. Fast-food stalls fill the stage, and costumes designed by Paulina Golodriga are contemporary.

There are many marvelous touches of the world we live in. Director Helen Eleasari has added lovely touches to every ensemble, from a "see, hear and speak no evil" pantomimic men's trio, to

a suggestively sensual "Three Little Maids from School" for the girls. Musical director Leonti Wolf, formerly of the Novosibirsk Opera, led his 25 immigrant and volunteer players without score, keeping the pacing steady, the playing clean and balanced.

The rapport between cast, orchestra and conductor was warm and responsive. Nearly all the principals are amateurs. No one expected highly cultured or powerful solo voices.

There were none. Even a cappella ensembles, like the "Madrigal Quartet," tended to drift off pitch.

Yet Maxine Ray (Katisha), a former Logon director, and Marcus Myerowitz (Mikado), a farmer, gave experienced, vivid characterizations filled with convincing gesture and stage

presence.

Lisa Troen-Hatzir (Yum-Yum in a mini-skirt) and tenor Adi Adar (a Romanian-accented Nanki-Poo) had the vocal potential to pull off their romantic leading roles, but needed more breath support to project a smooth cantilena. Ed Spitz's voiceless tenor (Koko) held center stage by will and concentration alone. Amiel Schotz turned a voiceless baritone into a lively Pooh-Bah through skillful timing and agile acting.

Pleasantly voiced supporters included Myra Bennet (Pitti-Sing), Estelle Kunoff (Peep-Bo) and Yan Wolfson (Pish-Tush). The strength of the Light Opera Group of the Negev, however, is its esprit de corps, which many a professional troupe would do well to emulate. The men's

choruses were sung with relish and superb involvement.

The larger women's choruses were like stage flowers shuffled about in various arrangements, compared to the volatile and resonant singing of their beaus'. Together, their selfless devotion shone through every detail of characterization, stagecraft, scenery and costume - a triumph of spirit over matter. Credit for this minor miracle goes to joint producers Lynn and Menachem Friedman, and directors Eleasari and Wolf, whose patience and persistence transformed slender vocal and instrumental resources into dramatic coin; and turned a potentially amateurish rehash into a coherent, convincing and original G&S production.