The fathers of modern musical theatre, Gilbert and Sullivan’s very silly (and very clever) songs from over a century ago have influenced everything from modern political parody to the work of Stephen Sondheim and Lin-Manuel Miranda. Their approach to storytelling and grand musical humour included, most importantly: bringing absurd premises to their “logical” conclusions, employing and supporting amateur actors, and parodying important composers and writers of their time in order to make them accessible to middle class punters.
In Sydney, the Hayes Theatre Co brings a similar spirit to its theatremaking – from supporting emerging artists, to providing a place for the modern musical to entertain and provoke larger discussions about the ridiculousness of being alive. So, it makes a lot of sense that Richard Carroll (co-artistic director of the Hayes) would bring us a swashbuckling new take on Gilbert and Sullivan’s most popular operetta (or musical, before musicals were conceived of) – The Pirates of Penzance; or, The Slave of Duty.
As director and adaptor, Carroll continues Gilbert and Sullivan’s grand tradition of silliness, shrinking The Pirates of Penzance down to a very Hayes size, with a plucky cast of just five actors (for reference, most productions would usually have a cast of around 20) – along with some precarious participation from the audience members who find themselves seated amidst the action. The result? A playful, stripped back show that leaves everyone wearing a smile (even if it might divide some of the G&S purists!).
A soaring, swashbuckling, and very silly tribute to an illustrious tradition of musical comedy...
We follow the dreamy and not-particularly-bright young Frederic (played with as much earnestness as Maxwell Simon can muster) who, at 21 years of age, is ready to cut his ties with the band of soft-hearted pirates he has apprenticed since childhood, in order to pursue the life of a proper gentleman. He soon finds a beautiful woman to marry, but then finds out she is the daughter of a Major-General, who orders him to kill his former pirate friends! As further hijinks ensue, Frederick must figure out where his true duty lies.
Musically, you can listen out for inspiration from Verdi, Mozart, Mendelssohn and Schubert (with arrangements tweaked by co-artistic director Victoria Falconer and Trevor Jones, who also features in the compact cast) as well as some impressively complex rhythmic and tonal devices. A brilliant example of this is ‘How beautifully blue the sky’ – in which a group of young women decide to turn a blind eye to their sister’s blossoming love with Frederic – it includes a rapid “prattle” style of singing layered above Frederic and Mabel’s slower, waltzing love song (a Sullivan trademark). Meanwhile, Gilbert’s lyrics are full of rhyming delights, witty puns, and very silly wordplay. It’s no wonder they’ve influenced so much of modern comedy and musical theatre.
How, then, can you make something so layered and complex into something so compact? With the help of broomstick policemen, a piano-playing Major-General (Trevor Jones), an ingenious character doubling of Frederic’s piratical maid Ruth and operatical love interest Mabel (both played by the awe-inspiring Brittanie Shipway), a pirate/policeman/maiden who also plays the keys (Billie Palin, of course) and a ukulele-playing, quick-changing Pirate King and Police Chief (Jay Laga’aia). This crew of musical theatre giants packs no shortage of delights. Their heightened silliness, paired with the musical ability visibly oozing from their pores, makes for a practically perfect Pirates experience. There’s also an onstage stage manager (emerging theatre professional Sheridan Simson) who rings the ship’s bell and keeps the action moving.
Nick Fry’s set has echoes of his work in Zombie! The Musical, giving the impression of a do-it-yourself community theatre production. There are couches and barrels, boxes of Ceylon tea, and posters from previous Pirates productions littering the walls. A rolling piano is a simple and very effective hiding place for various quick changes and surprises, and there are plenty of other prop gags too funny to spoil. The costumes by Lily Mateljan have a simple but beautifully ridiculous charm – the Pirate King sports a very large leather pirate hat, Mabel and her sisters are decked in (sometimes hilariously ill-fitting) pastels, and Frederic’s pirate costume is hilariously skimpy. Jasmine Rizk’s lighting and Daniel Herten’s sound design complement the otherwise (deceptively) simple piano arrangements, spotlighting key musical moments as sneaky recordings allow for impossible duets.
Right from its conception, The Pirates of Penzance has been adapted innumerable times in innumerable ways – songs have been removed, edited and even remixed into a “poperetta” megamix (case in point: Jon English as the Pirate King in the 1994 ABC TV recording directed by Craig Schaefer, which you can stream right now on iView).
In the spirit of these adaptations and readaptations, Carroll and his collaborators preserve the witty lyrical vibe of Pirates and insert new jokes (visual and otherwise), as well as toning down some of the historic sexism of the original lyrics. Some of the more superficial remarks from Frederic’s pleading number ‘Oh, is there not one maiden breast’ have been softened; there’s no scenes of pirates slinging unwilling young women over their shoulders; and Mabel comes across as a more adventurous young woman, who dares to defy her father, instead of taming Frederic and the pirate band in order to bring them into polite society. Without sacrificing the comedy, these adjustments allow for a much more heartwarming conclusion – as Frederic declares his allegiance to “poetry” and “love” above his duty to conformity.
A soaring, swashbuckling, and very silly tribute to an illustrious tradition of musical comedy, Carroll’s Pirates of Penzance is such a delight to witness. You can even snag an onstage ticket to be even further immersed (or harassed?). And if you’re taking a Gilbert and Sullivan purist, it could pay to remind them that there’s probably not a “pure” version of Pirates that exists, so they may as well buckle up for the ride!
The Pirates of Penzance; or, The Slave of Duty is playing at Hayes Theatre Co, Potts Point, until March 16. Tickets are $55-$89 and you can find them over here.
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