Gilbert and Sullivan’s The Pirates of Penzance in Concert

Brisbane’s QPAC is an outstanding venue, home to a variety of theatres that each have their unique advantages. The chief advantage of the Concert Hall (aside from its gigantic, glistening pipe organ) is its acoustics. As such, one is used to seeing orchestras, chamber music, and opera appear on its stage. When a production chooses to stage a Gilbert and Sullivan work in the Concert Hall, you have to expect they are about to blow you away with their musical prowess. Consider this reviewer significantly blown away. 

This is a world-class ensemble of entertainers, backed by a talented creative team and dedicated crew. The high production values demonstrate Prospero Arts and QPAC’s commitment to director Stuart Maunder AM’s vision. The result is an aural and visual delight. 

Maunder has encouraged some amazing performances from the players to deliver a show that’s simply flawless. He’s found every moment of comedy in the work. The blocking is dynamic and does well to keep us focused on the action, even in scenes featuring dozens of characters. Everyone – even those in non-speaking ensemble parts – has an emotional journey, is listening and reacting to those around them, and is focused and well-rehearsed. The singing is operatic, thrilling, and powerful, and the staging is epic. It’s easy to see why Maunder is a leading light in Australia’s opera scene. 

Original costume designer Roger Kirk AM’s work is richly detailed, faithful to the Victorian era, and a feast for the eyes. Every character’s wardrobe has been thoughtfully constructed. Even the band is dressed to impress in red coats and black trousers evocative of Victorian British army uniforms. Particular favourites include General Stanley's daughters’ white gowns, hats, and parasols; The Pirate King’s resplendent coat and hat donned during his eponymous song; and General Stanley's nightgown, robe, and ornate pillbox hat. 

Musical director and conductor Isaac Hayward keeps things thrilling throughout. He sets a cracking pace that enhances our excitement, particularly in the many numbers in which vocalists perform difficult linguistic gymnastics. Hayward doesn’t simply challenge the vocalists; he works with them to deliver some delightful moments of pause and anticipation. Under his baton, the band is exemplary, and comedic timing is heightened. 

Penny Challen’s thoughtful production design features an impressively large pirate flag and sails set above the onstage band. Stairways and platforms on either side and to the rear of the band give the stage further depth, allowing for dramatic entrances and intimate moments. Versatile, movable set pieces are used at the front of the stage, providing height, seating, and space when needed. Ben Hughes’ lighting perfectly illuminates the players and sets the mood. The full moonlight is a particularly lovely touch that supports the romantic comedy. Steve Thornely’s sound design ensures the audience doesn’t miss a note. 

Great sets, lighting, music, costuming, and direction can easily be marred by poor casting. Thankfully, there’s nothing but stars on this stage. Even the chorus of pirates, police, and General Stanley's daughters with non-featured roles deliver impressive performances. Their energy and commitment while acting, singing, and dancing is superb. 

Ben Mingay is a lively, jolly, and likeable Pirate King, without too much menace to his portrayal. His rich bass-baritone and smooth phrasing are extremely pleasurable to the ear. When it comes to acting, Mingay oozes charisma and charm while also showing a flair for comedy. Antoinette Halloran is a fabulously funny Ruth. Her facial expressions and physicality have the audience in stitches. Halloran’s voice is gorgeous, and her skills in the legato and staccato sections are outstanding. 

Speaking of legato and staccato, you couldn’t ask for a better Major-General Stanley than Jason Barry-Smith. He’s a natural comedian, and his operatic baritone is ideally suited to the challenges of this tricky role. Matthew Broadbent as Sergeant of Police has a wonderful tone and range to his bass. He also shows great timing in his delivery. 

Billy Bourchier plays the romantic hero Frederic to a tee and shares good chemistry with the beautiful Mabel, played by Nina Korbe. The duo sound heavenly when working in harmony. Korbe demonstrates jaw-dropping, elaborately ornamented singing and hits some astoundingly high notes with flair.

Aidan Hodder as Samuel is lively and expressive in both acting and singing. Jessica Mills is animated and displays exceptional physical skills as Isabel. Phenomenal mezzo-soprano Monica Ruggiero delivers a terrific performance as Kate. As Edith, Sophie Moman offers lovely characterisation, a sweet voice, and believable rapport with the other players. 

If you see labourers on top of QPAC’s Concert Hall, it’s because these amazing performers are blowing the roof off with the strength and power of their singing. When they perform at full volume, there’s something about the harmonies and sound that feels almost spiritual, as if it connects to your soul. This production aims high and delivers beyond expectations. One hundred and forty-five years since it first hit the stage, Prospero Arts proves The Pirates of Penzance is just as funny, romantic, engrossing, and relatable as ever. 

Kitty Goodall

Photography by Joel Devereux