Pirates of Penzance

Some 140 years ago, Pirates was the first Gilbert and Sullivan (fondly referred to as G&S) operetta to preview on the New York stage. Since then, Pirates has become one of the most loved, performed and frequently referenced of their works. It features the famous, much parodied, “Major General’s Song” which has become the basis of innumerable marketing and political campaigns, satire and film and television features.

Based on a Broadway adaption by the New York Shakespeare Festival and directed by Richard Trevaskis, this Therry Dramatic Society show has brought together a team of performers who particularly relish the comedy and wit of Pirates. G&S are famous for their unashamed social and political barbs, so a tale about a young indentured pirate, born in a leap year, trying to go ‘straight’ who falls in love with the daughter of gentry, has real potential as a crowd pleaser, and the response of the opening night crowd indicated that this is an audience winner.

Musical Director Mark Sandon runs a tight ship throughout the overture and 28 songs, and whilst, on opening night there were moments of disconnect between performers and the 26-person orchestra, it is a ‘singers show.’

The standout audience pleaser was comic baritone Nicholas Bishop as the beleaguered father and Major General. His signature song, which is a feat of clever, precise singing was however, somewhat garbled at speed in contrast to an almost laconic acting pace. Musically, Serena Martino-Williams as Mabel has a mellifluous voice that, in the upper register, makes the lyrics hard to understand and relate to.

Jared Frost, as Frederick, has an excellent tenor voice for the role. On opening night, he appeared somewhat disengaged and tended to literally walk through his movements and interactions with other characters, bar some lively singing and moving in Act one with Vanessa Lee Shirley as Ruth.

The lesser Principal roles and the work of the ensemble is impressive and musically strong. In this production they are a vital linking force, delivering a musically and theatrically strong performance.

Baritone Chad Crittle is well costumed and delivers a very good performance as the Pirate King; so too, does Nick Coxhill as the Police Sergeant, his singing, expressions and delivery adding significantly to the humour and camaraderie of the performance.

All G&S fans know and love “With Cat-like Tread” and “A Policeman’s Lot is not a Happy One” and in this production, both are a musical and ‘funny-bone’ treat. “Hush, hush! Not a word”features clever effects with flashlights, bringing together the bumbling, cowardly policeman and the business like pirates, each group seemingly unaware of the other. The crowd loved the ‘high camp’ choreography that almost delivered a high kicks line up.

The production side of the show has both high and low spots. Costumer designer Vanessa Lee Shirley attempted some quirky and clever costuming that has not quite worked. The male pirate ensemble, dressed in mixed era waistcoats and flat caps look more like East End London barrow boys than pirates, and the black and white themed female’s costumes, cleverly linked between acts, suffered from being ill fitting and unflattering for some of the cast, particularly the ensemble who were portraying very pretty daughters. The concept of an ‘indeterminate time in the past’, as given in the program is not well supported visually by costumes that have a mix of larger numbers of deco style with other eras added, seemingly at random. It may have had more impact if the collaboration by Shirley, with Tim De Jong as Set Designers, reflected the costume colour palette theme.

The opening up of the set, rather like an art deco block set, was a highlight of Act two. The lighting does not add to the show. It is workmanlike and often is seen as a series of follow spots that do not quite keep up with the performers. The creation of the night time ‘cloak of darkness’, is, however, effective.

Choreography by Konstanz Symeonakis is a strength in this production. It is not over complicated, but is lively, well executed and adds to the fun and pace of the show, particularly in the hands, (and feet) of the policemen and pirate crews.

Therry’s musicals are always regarded as a highlight of the year, so if you are looking for a feel good night out, hoist your black jack, heave ho and head to the Arts Theatre to find some treasure.

Jude Hines