The Pirates of Penzance (Pirates) is the fifth work in the series of Gilbert and Sullivan’s (G&S) celebrated 14 Savoy operettas. Famously known for the creation of a new genre of musical theatre, Pirates blended grand opera with sharp, comedic lyrics. For financial reasons, it was the only one of the operettas that premiered outside of the UK in New York in 1879. Critically and popularly acclaimed there, Pirates went on to play an extended season in London from April 1880 and remained a staple of the repertoire. It is one of the most performed and popular operettas in the G&S canon.
As with most G&S, the absurd humour is also tempered with themes exploring loyalty, love, honour and duty around satirical digs at the Establishment, the military and police. Plays about pirates were popular at the time, and romanticised the role of piracy in society. In Pirates, stealing ships and goods seems to be regarded as a legitimate career path.
The story is laughable and absurd, with cutting-edge sardonic overtones. The hero, Frederic (Billy Bourchier) has been indentured to a crew of pirates at an early age and, once released, falls head over heels in love with Mabel (Nina Korbe) the daughter of Major General Stanley (Jason Barry-Smith). Stanley resists marrying his seven daughters off to the pirates, while the local constabulary arrive to arrest the pirates. The plot is full of hidden truths, of orphans not actually being orphans, of pirates being recognised as noblemen gone bad, and of honour, duty and love being fulfilled. The stuff of good adventure stories.
Stuart Maunder, who has described himself as a G&S tragic, is an afficionado of this artform and is recognised in Australia as a leading exponent of the Savoy operettas. He has directed this new concert version of Pirates in a traditional production with a keen ear on the narrative, interpreting Gilbert’s acerbic and satirical lyrics to great effect. Moreover, he has created some wonderful stage pictures, with detailed choreographic movement for the separate groups of pirates, police and girls and excellent attention to detail in the characterisations of his cast. It is a masterful interpretation, faithful to G&S in almost every respect, well-crafted, well-delivered and polished.
He is well supported by a simple but effective design from Penny Challen – large sail cloths and a skull and crossbones flag above the stage depict the pirate ship. Positioned centre stage towards the back, the orchestra is flanked by two corridors of a stepped rake on either side that allow for entrances and exits. There is sufficient space for the whole cast to be centre front as required.
Roger Kirk’s original designs for Opera Australia’s production are showing their age, but the blaze of colourful pirates’ outfits, alongside the old-fashioned police costumes and the virginal white dresses of the young ladies give a good overview of the period. The Major-General’s toytown military outfit is perfect.
Ben Hughes lit the whole show with aplomb, crafting colour around the various scenes and songs in such a way to replace scenic deficiencies. From the tender, sparkling blue love scenes to dark night and bright daylight, his atmospheric lighting enhanced the storytelling effectively. Steve Thornely added a vibrant sound design to support the singers vocally.
Sullivan’s music is for the most part spritely and bright, a foil to Gilbert’s droll and witty lyrics. Under the baton of Musical Director and Conductor Isaac Hayward, a 23-piece orchestra, dressed in red band outfits, played a jaunty overture including famous song extracts and accompanied the score and songs well. They were particularly good at following the ultra-fast patter songs.
In a key role, Ben Mingay’s Pirate King was the epitome of bluster and indecision, leading a band of disparate pirates. His timing in the humorous moments was spot on, while his tender-hearted reaction to ‘orphans’ was as absurd as it was inexplicable. He has a lustrous and powerful bass-baritone voice that soared easily over the orchestra in ‘Oh, Better Far to Live and Die’, known usually as ‘I am a Pirate King’. He gave a splendid performance throughout.
As Ruth, the hapless nurse to Frederic, who famously mistakes indenturing her prodigy not to a ‘pilot’ but a ‘pirate’, musical theatre star Antoinette Halloran gave a finely-tuned, highly spirted performance, adopting a broad cockney accent and making the most of her songs, including the agonising ‘When Frederic Was a Little Lad’.
Billy Bourchier’s Frederic was all passion and heart, his sense of duty second to none. A lovely stage artist, alongside having a glorious tenor voice Bourchier produced some poignant singing that included ‘Oh, False One, You Have Deceived Me!’ and ‘Is There Not One Maiden Breast’. The contribution musically of Ruth, The Pirate King and Frederic to the patter song in ‘When You Had Left Our Pirate Fold’ was exceptionally well managed by all three artists.
Korbe’s glorious coloratura soprano managed the trills and arpeggios of Mabel’s ‘Poor Wand’ring One!’ to great effect, demonstrating Sullivan’s input of grand opera into the work. She made a delightful and beautiful Mabel while her onstage chemistry with Frederic was completely believable.
Jason Barry-Smith was an excellent Major-General, both in his stage presence and his impressive rendition of the famous patter song, ‘I Am the Very Model of a Modern Major-General’, which was brilliantly sung and very well received.
Matthew Broadbent’s dark, brooding voice made the most of the Sergeant, delivering ‘When a Felon’s Not Engaged in His Employment’ with humour and wit.
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The smaller roles, including Aidan Hodder’s Samuel, Jessica Mills’ Isabel, and both Sophine Moman’s Edith and Monica Ruggiero’s Kate, were very well played and sung. Many of the young ensemble performers were making their professional debuts and rose to the occasion. They were helped by Maunder’s spirited direction which injected much energy, enthusiasm and pure joy into the work.
All in all, this was a marvellous semi-staged concert version of Pirates boasting a terrific cast. Well presented, it delivered Gilbert’s satiric and humorous lyrics alongside Sullivan’s tuneful and elegant score to a delighted audience.
Prospero Arts and QPAC present
The Pirates of Penzance – in Concert
Music and lyrics by Gilbert and Sullivan
Additional Arrangements by Isaac Hayward and Andrew Greene
Director: Stuart Maunder AM
Musical Director and Conductor: Isaac Haywood
Lighting Designer: Ben Hughes
Sound Designer: Steve Thornely
Production Design and Associate Costume Designer: Penny Challen
Original Costume Designer: Roger Kirk AM
Cast:
Pirate King: Ben Mingay
Ruth: Antoinette Halloran
Sergeant: Matthew Broadbent
Frederic: Billy Bourchier
Mabel: Nina Korbe
Major General: Jason Barry-Smith
Samuel: Aidan Hodder
Isabel/Dance Captain: Jessica Mills
Edith: Sophie Moman
Kate: Monica Ruggiero
Ensemble: Zoe Catchpole, Sam Hamilton, Tashana Hardy, Jeremy Herron, Freddie Klein Liam Jackson, Camilo Lopez, Georgia Mercer, Joel Parnis, Dallas Tippet, David Upcher and Callum Warrender
Concert Hall, QPAC, Brisbane
Until Sunday 8 December
