The Pirates of Penzance

This production of The Pirates of Penzance was a joy from start to finish, and I want to extend heartfelt congratulations to everyone involved. What you created on that stage was full of clarity, creativity, and shared delight, capturing the wit and heart of Gilbert and Sullivan with confidence and charm.

For anyone unfamiliar with the story, ‘Pirates’ follows Frederic, mistakenly apprenticed, by his slightly hard of hearing nursery maid, to a band of soft-hearted pirates instead of the pilot he was meant to serve. Believing he has reached his twenty-first birthday, he prepares to renounce piracy - especially after meeting Mabel, daughter of the eccentric Major-General Stanley. A legal twist reveals that Frederic, born on 29 February, has celebrated only five birthdays, binding him once more to the pirates. What follows is a cascade of comic entanglements involving a timid police force, mistaken identities, and the Major-General’s increasingly desperate attempts to stay ahead, until everything resolves with forgiveness and cheerful restoration.

The decision to pair a traditional style with a minimalistic set was inspired. The packing-case design supported the action without overwhelming it. Watching the same structures transform from pirate hideout to the Major-General’s estate - aided by the cleverly designed ancestral ruins was a delight. It proved that suggestion can be more theatrical than literalism, and the open space allowed the ensemble to move with freedom and precision. I did notice the use of the Cornish Flag and not the usual skull and crossbones -  a good choice.

Graham Carton (Frederic) gave a confident performance throughout, and was a good pairing to Mabel, although I did wonder if some of his solos were something of a challenge. Katrina O’Neill was a delight as Ruth, the ‘maid of all work’. Her ‘seduction’ attempts of Frederic were a joy to watch. She has a wonderful clarity of voice that just enthrals.

James Mitchell (The Pirate King) delivered an outstanding performance. His command of the stage was unmistakable - every movement purposeful, every gesture intentional. His comic timing was impeccable, striking that perfect balance between swagger and silliness that defines the role. He anchored the production with charisma and precision, and it was a pleasure to watch.

Hannah Wickham (Mabel) charmed us with her delightful presence and her wonderful coloratura soprano agility truly impressed. I particularly enjoyed her extremely witty rendition of ‘Go, ye heroes’.  

Another great performance was from Oliver Shanks (Major-General Stanley). Although seemingly much younger than the character he was portraying, he commanded the role with ease. His diction and clarity in the singing of Modern Major General was lively and well paced.

All the ensemble ladies had a good blend of voices and moved extremely well around the stage. The facial expressions from some of them in Frederic’s rendition of ‘Oh, is there not one maiden breast’ were so amusing and well timed.  Our rollocking band of pirates did a grand job throughout.  Congratulations to all the men (and women?)  who were in fine voice.

David Martin gave a good performance as Sergeant of Police and was eagerly supported by his band of reluctant policemen.

Act Two offered one of the evening’s most memorable comic images. During the Major-General’s solo, the pirates and policemen attempting to conceal themselves behind tiny bunches of greenery created a moment of pure theatrical joy. The sight irresistibly evoked Birnam Wood advancing on Dunsinane - Macbeth re-imagined with a G&S wink.

The Youth Ensemble brought a burst of unfiltered joy to the production. They were clearly having the time of their lives, and that enthusiasm radiated across the footlights. The young lad (Zachary Balchin) who opened the show deserves particular praise: he launched into his role with such energy and commitment that he became a quiet thread of vitality throughout the evening. Even when one or two were momentarily overtaken by the excitement of the occasion, it only added to the warmth and authenticity of the performance. Their inclusion enriched the production and offered a refreshing contrast to an otherwise adult cast and audience.

What struck me most was the sense of unity across the company. Every performer - principal, chorus, youth ensemble, musicians, and creative team - contributed to a production that trusted the material, honoured its humour, and embraced its heart. This was a production full of wit, warmth, and theatrical imagination - a true pleasure to watch.

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