The Pirates of Penzance

The Pirates of Penzance
Music by Arthur Sullivan and libretto by W S Gilbert. Director Meg Warren. Musical Director Graham Ford. Choreographer Tamblyn Smith. Presented by Diamond Valley Singers and Eltham Orchestras (Vic). Until 13 July, 2013.

Upon leaving the Warrandyte High School Theatre after the Diamond Valley Singers and Eltham Orchestras’ spirited account of this classic comic opera, I couldn’t help but contemplate how much poorer our musical world would be if the works of Gilbert and Sullivan had never existed. They are perfectly compelling beasts – providing, at once, the challenges of the fiendishly difficult ‘patter songs’ for which they are most famous, and the equally recognisable choruses that provide ensembles with the opportunity for a wonderfully big ‘sing’. Something they have been doing since 1871, which is no mean feat when you really think about it!

Beautifully costumed by Barbara Skewes, staged against some gorgeous sets by Trevor D’Ambrosio, Tim Warren, Lynne Counsel, Robyn Hannan and helpers, and beautifully lit by Ian Craig, the story of (not really yet) 21-year-old Pirate Frederick (an excellent Othon Charalambous) and the battle with his conscience followed on from the considerable success of HMS Pinafore (which goes some of the way towards explaining the similarities between the two works). Both begin on the high seas, but in the case of Pirates … , we eventually find ourselves on land where Frederick has been cast adrift to chart his destiny away from his beloved Pirate family.

The Diamond Valley Singers’ wonderfully expressive cast of pirates were supremely entertaining – each with their individual characteristics, and all of them robustly attacking the score with great energy and humour. James Young’s ‘Pirate King’ was the perfect big brother/patriarch, and I adored his abundant charm and the extent to which he eschewed playing this role like some kind of giant ego-trip as has become the want in the ‘modern’ productions we’ve had to endure. It was telling, indeed, that as Frederick embarked upon his journey, I felt a significant pang of regret that he was choosing to leave this merry band of colourful, well-meaning, lost souls.

To contemporary audiences, the ruthless exchange on land between Frederick and his unfortunate paramour Ruth (Jessica Heard) is hard to take. As our nation is focussed on critical debates around sexism and misogyny, Frederick’s clearly articulated disdain for the older and plainer Ruth dates this work instantly and problematically. Fortunately, we know that Ruth will return later to reveal her truly feisty, independent and empowered personality. Ms Heard wisely plays the earlier version of the character as something of a disguised pantomime dame before returning in Act 2, Scene 2, in full vim and vigorous splendour – with her fine voice commanding of each of the character’s very different personalities.

The famous meeting of Frederick and the well-disciplined daughters of Major General Stanley (Owen Davies) on a remote beach on the Penzance coast was fabulous fun. Eleesha Higbed’s ‘Kate’, Karina Aston’s ‘Edith’ and Kaitlin Spelling’s ‘Isobel’ had the time of their lives with the gorgeous lyricism of the score and the abundant humour as they each battled for the dashing Frederick’s attention.

But nothing could have prepared us for the arrival of Linda Belle’s diminutive Mabel. It’s a great moment in the show, and one of the benchmarks by which every production of Pirates … is measured. Mabel throws herself at Frederick with the sensational Poor Wandering One – and if I have heard a more accomplished performance of it anywhere in the world than Ms Belle’s on this occasion, then I don’t recall it. Pitch perfect coloratura is a definitive art in the operatic world, and I predict that Ms Belle will have a wonderful future in the repertoire.

Pirates …, like Pinafore and The Mikado, has its fair share of famous moments – and even the most minor indiscretion can stay in the memory of everyone who was there to witness it. Without a doubt, one of those moments is the notoriously difficult I am the very model of a modern Major-General, and with a devilish twinkle in his eyes (almost as though he was daring us to believe he would stumble), Mr Davies conquered it with something like a master’s touch.

Malcolm Wilton’s Sergeant of Police led the hilarious and equally-recognisable When the foemen bares his steel (Tarantara) with aplomb, and the hapless policemen were great fun to watch as they muddled and shuffled nervously about the stage preparing to take on the fearsome pirates.

But as we know, all’s well that ends well – and with cat-like tread, lovers are re-united, pirates are pardoned and this excellent cast sang us out into the brisk evening air. And the capacity crowd, many of whom had made a considerable effort to get to this performance and who hadn’t missed the opportunity to spontaneously sing along all afternoon, obviously had a thoroughly enjoyable time.

Geoffrey Williams

Photography by Lesley Walton.

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