The Pirates of Penzance
I have directed, choreographed and played the Major General in The Pirates of Penzance (at different times), so I was more than excited to see the latest offering from State Opera South Australia’s G&S Fest. I wasn’t disappointed; it was a truly marvellous production and demonstrates that Gilbert & Sullivan still lives and thrives in Adelaide.
For those who still don’t know the story - Frederic, who has spent his formative years as a junior pirate, plans to mark his 21st birthday by breaking free from the Pirate King and beginning his courtship of Mabel. But because he was born on Feb. 29, a date that only arrives every fourth year, Frederic isn't technically 21 -- and the Pirate King is still his master. Unless something gives, Frederic will soon be on a collision course with the Pirate King's new nemesis: Mabel's father!
From the clever comic touch of illuminating the proscenium arch at the beginning of the production, to the pirate ship on wheels, a band of rollocking, unlikely pirates, a police contingent of dubious ability and a bevy of beautiful maidens, Stuart Maunder’s production hits all the right notes, literally.
Maunder has crafted a joyous topsy turvy production that has all the silliness of WS Gilbert’s world where nothing is what it seems. The stage design by Richard Roberts (which is reminiscent of Monty Python’s Flying Circus) allows Maunder to use multiple levels to bring out the fun that is Pirates!
Roger Kirk’s costume designs, particularly the ivory lace first act costumes for Major General Stanley’s daughters, are spot on and add a further touch of colour to the overall look of the production which is cleverly lit by Trudy Dalgleish.
Anthony Hunt’s orchestra would make Sullivan himself proud ,with perfect balance between the stage and the pit.
Elizabeth Hall-Cooper’s joyous choreography is nicely matched to the performers’ abilities, particularly given the constraints of the ladies’ long dresses.
Ben Mingay’s Pirate King is everything a pirate should be – swashbuckling, dashing, sensual, with more than a touch of comedy and a superb baritone voice, particularly in the tricky, rapid ‘My Eyes Are Fully Open’ in Act 2, borrowed from Ruddigore. This trio goes at an incredible pace (especially in the encore), and I heard Mingay’s every word.
Desiree Frahn is perfection itself as Mabel. Looking like every little girl’s dream, she has the voice of angel, wonderfully modulated and a wonderful sense of fun for this role. Her ‘Poor Wandering One’ seemed effortless and her delivery of dialogue consummate. She can be Mabel the coquette, or Mabel the supportive partner with equal ease.
John Longmuir’s Frederic is well matched to Frahn’s Mabel. Their voices blend well together, particularly in ‘Oh here is love and here is truth’ in Act 2. Longmuir’s cheeky comic timing and crisp tenor voice shine thoughout the production, particularly in ‘Oh, is there not one maiden breast?’ in Act 1 and his duets with Mabel in Act 2.
Douglas McNichol, well known for his dramatic roles with Opera South Australia, gives Major General Stanley a broad Scottish accent reminiscent of Mrs Doubtfire. This accent gives the comedy even more punch and the ‘orphan’ dialogue is hysterical. I did feel however that there were a few opportunities for comedy throughout the show that were missed.
Antoinette Halloran wisely gives Ruth a heavy regional accent for maximum comic effect. Her trios with the Pirate King and Frederic in Act 2 were the best I’ve heard!
Nicholas Cannon as Samuel and Jeremy Kleeman as the Sergeant of Police are the sidekicks of the pirate band and the police force respectively. Kleeman’s rich bass voice and feeling for comedy are thoroughly suited to ‘A policeman’s lot is not a happy one’.
Cherie Boogart (Edith), Rachel McCall (Kate) and Jessica Mills (Isabel) complete the principal cast as Major General Stanley’s daughters. They are natural foils for Mabel both in voice and stage presence.
The Pirates of Penzance features a small chorus for State Opera. Small in number, but big in sound and personality. ‘How beautifully blue the sky’, ‘Hail Poetry’ and ‘Tarantara, Tarantara!’ were rich, and full of the Sullivan harmony we have come to expect.
The Pirates of Penzance is the perfect production for those who would like to ‘dip their toe’ into the world of G&S (and why wouldn’t you?) and absolute perfection for those of us who know and love the works of Gilbert & Sullivan!
Barry Hill OAM
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