Pirates of Penzance

I have very fond memories of performing in The Pirates of Penzance as a teenager, when I had the great fun of playing the Pirate King, so there was a real sense of nostalgia and pleasure in seeing Cambridgeshire Light Opera Group bring Gilbert and Sullivan’s much-loved work to the stage.

Reading the programme before the show, a few points immediately caught my eye. It was clear that this would be a more modern take on the piece, set within the university system. As the overture began, that fresh interpretation became apparent. While not every aspect of the concept entirely convinced me, it was encouraging to see the company approaching such familiar material with imagination and a willingness to try something different.

The programme also noted that Ruth, the only female character to have lived with the pirates for many years, would be played by Steven Aronson. I know Steven’s work, having last seen him as a Grenadier Guard in another G&S production, and I will admit that I was initially curious about the choice. The programme referred to a shortage of women, although that was not especially obvious once the full cast appeared on stage. However, once the initial surprise had passed, Steven won me over. What could easily have become a broad comedy panto dame-style performance instead settled into something more thoughtful and sincere, and he brought warmth, commitment and credibility to the role. It was a brave casting choice, and one that he handled with care.

The set was simple but effective, with a large projection screen at the rear displaying a variety of images throughout the performance. On either side were walls used to display pictures and other scene-setting details, giving the stage a flexible feel. Act Two featured a number of large graphics, which I assumed may have referenced previous productions. Although I was not entirely sure of their significance, they added colour and character, and they worked particularly well in supporting one of the larger ensemble pieces, ‘With Cat-Like Tread Upon Our Prey We Steal’, towards the end of the production. The production team should be commended for creating a clear visual identity without overcomplicating the staging.

In previous productions I have seen from this company at this venue, I have commented on the sound balance, particularly the relationship between the singers and the orchestration. I was genuinely pleased to hear a noticeable improvement this time. The balance between voices and music felt much better, and, helped no doubt by my familiarity with the score, I was able to hear almost everything clearly. That made a real difference to my enjoyment of the evening and reflects well on the work that has clearly gone into this area.

It was lovely to see Alec Buchan in the role of Frederic. Alec has a superb tenor voice, and it suits the part beautifully. His youthful characterisation was also engaging and well judged. I did wonder whether he might have been nursing a slight sore throat on the night, as one or two moments seemed to lack his usual confidence, but there was still a great deal to enjoy in his performance, and he gave Frederic a likeable presence.

Vic Olphin’s Mabel was another real pleasure. Vic is always an assured and engaging performer, and this was no exception. Her wonderfully high soprano rang around the hall on many occasions, and those moments were among the musical highlights of the evening. She brought confidence, charm and real sparkle to the role.

Lake Falconer, as the Major-General, and Mark Syddall, as the Pirate King, both brought plenty to their respective roles. I particularly enjoyed Mark’s energy as the Pirate King, a role for which I have an obvious soft spot. At times his diction made it a little difficult to catch every word, but his enthusiasm and presence were very much in keeping with the spirit of the piece. Lake also gave the Major-General a confident sense of character and helped maintain the pace and humour of the production.

The rest of the cast gave strong and generous support throughout. There was a clear sense that everyone on stage was enjoying themselves, and that enjoyment carried warmly into the auditorium. The ensemble work had real commitment, and the company created a welcoming and lively atmosphere from start to finish.

Overall, this was a very enjoyable evening’s entertainment and a welcome chance to hear G&S performed with affection and energy. For me, it also brought with it a lovely nostalgic trip down memory lane, more than 30 years after my own encounter with the Pirate King. Cambridgeshire Light Opera Group should be congratulated on a warm, spirited and fun production, and I look forward to seeing where they take their next production.

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