The Pirates of Penzance

Oh where do I even begin to describe this "amateur" operatic show?    Well, a long list of superlatives would be at least a start.

In no particular order I therefore offer: pace , brilliance, dynamism, pathos, humour, innovation, exquisite timing, sharpness, clarity, fun, the unexpected, superb costumes, sublime singing, inspirational choreography - to misquote Oscar Wilde " to see one performance may be regarded as fortunate, to see only one looks more like  carelessness."

As a devotee and performer of G&S for over 50 years, I cannot recall a show I have enjoyed more. Frankly, so may amateur G&S performances are staid, turgid, entirely predictable and even somewhat boring.This was the polar opposite - it was a rollick from beginning to end.

Many of the principal performers were top quality and the equal of professionals.One or two are professionals. Both ladies' and men's chorus were vibrant, charismatic and sang wonderfully well, with well observed dynamics whenever necessary and none better than in "Hail Poetry".

Nathaniel Hook has played Frederic several times previously, and one can see why. Though several years older than the requisite twenty one, the blond wig he wore and his youthful face and figure made his stage age entirely believable. He acted, sang and danced wonderfully well, the duets with Mabel being very special.

Susanna MacRae as Mabel has a thrilling voice with top notes that reminded me of "The Lark Ascending", so high and beautiful are they. A petite and pretty Mabel, who has grace, command and so much else in her slim frame, Susanna is clearly destined for a great career in music and theatre. Susanna and Nathaniel had the chemistry of true lovers.

Francis Radford as the Pirate King was born to play this role.The word "charisma" was invented for him! His was a compelling performance given  by a supremely gifted actor / singer and one could only watch and admire!!

As his chief Pirate assistant Samuel, Chris Whitebread in this smaller but still important role, complemented the King's performance with his own brand of bewildered but "tender hearted" devotion to his Pirate career. Another accomplished performer.

Claire Padbury is a versatile and gifted actress with a beautiful singing voice. We saw yet another one of her range of characters, complete with Cornish accent, playing Ruth opposite Frederic. Her dismay upon him seeing the "younger, prettier" girls for the first time was heartrending. "Lost, lost" she said as Ruth, but she is mistaken because, Claire, you "won, won" in every way!

As Arthur Askey used to say when first entering the stage, "here's where the show picks up folks" - for Arthur read Kevin Stuart as Major General Stanley. Though how anyone could hope to pick up a show already so sky high is beyond me. The Major General is a peach of a part that I have seen many professionals play with panache and verve. I have never enjoyed a Major General more, however. His tricky patter song "I am the very model of a modern Major General" was made for Kevin.  His character was at various stages humourous, bewildered, deceitful, remorseful, frustrated and finally triumphant. Blissful!!

As two of his many daughters, accompanied by chaperones and household staff being the more senior (sorry!) ladies, Lizzie Britchfield and Charlotte Taylor played Edith and Kate respectively and played them exceedingly well.

This highly imaginative production gave them and others every opportunity to show off not only their comic timing but their fine singing voices. The ladies' chorus and their horrified reactions upon finding that Frederic was a pirate was a sheer joy to observe. His about turn on their shout "A MAN" and then realising that he was that man, is a well worn trick which only works if the timing is exquisite as portrayed here.

And so to the policemen's entrance: the entire Cornish Constabulary, it seemed, led by the hugely charismatic, nimble footed and multi-talented Ziggi Szafranski. Their sensational choreography and the crispness of their movement made this an unforgettable scene. If you don't like watching Ziggi on stage then clearly theatre is not for you.

There was a host of special moments;  I hesitate to call them high-spots as the entire show was precisely that. The superb thirteen piece band were under the sure command of Musical Director Jamie Cordell, who, having lost his baton versus sword fight with the King (beat that, D'Oyle Carte) then instructed the orchestra to cease playing until his baton was returned. The Pirate King swinging on a rope, threatening to land on the front rows and the "I saw a tart / I sore at heart" moments were just a small sample of dozens throughout the show.

The rocky mountains seashore over which the ladies tripped so daintily, complete with picnic table and chair, made a most realistic first act set. This quaint ritual happens every 29th February in Penzance. How wonderful to be British!

I actually thought the second act set of the Major General's tomb with realistic gravestones and tomb of his own ancestors (by purchase!) was even better. A shining full moon prominently lit the dark sky and the atmosphere was electric. The fight scene between the policemen and pirates was far from the usual perfunctory charade, so enamoured by run of the mill societies. ESOSOC even engaged a fight director to co-ordinate the fight. (I gather strobe lighting in this scene was used on other nights, but there was a technical problem on the first night.)

Costumes and wardrobe by Lois Hatt and Sue Bracher were also special; the attention to detail being extremely obvious. The hair styling and wigs, which the Pirate King chose to ditch very early in the piece, informing the audience that " this is not Pirates of the Caribbean", were highly effective. Tamsin Blain and her team were make up artists par excellence and the lighting  design and operation, including follow spots were all of professional standard.

Choreography under the brilliant Vanessa Chambers was sharp, pacy and even joyfully carried out. ESOSOC would be crazy not to use this livewire lady again.  She had clearly worked like a Trojan to attain this standard.

The dedicated and inspirational director Lynda Barrett-Mercer's stamp was all over this Pirates. She is clearly a director who gives great store to constant action and much movement and involvement for the chorus.  The strength and depth  of this chorus and the sheer vibrancy of the show is what has set this production apart from others I have seen.  It was in effect a West End show with a devoted and large company on stage. I consider this Broadway version infinitely superior to the standard D'Oyly Carte style one that has been so often and so predictably played throughout the country. This version was fresh, relevant, modern and above all funny. This is after all COMIC opera. And it made this gnarled old reviewer, who knows every word of this show, laugh out loud. That is nearly impossible but it was true.

My last plea is for more Gilbert and Sullivan to be put on by ESOSOC. The music in my book, is far superior to much of the post 1960 shows (and also many before) and a company of this size, having just achieved this extraordinary standard, would surely be foolish not to mine this rich seam more often. I was privileged to be in the audience and I salute you all.

© NODA CIO. All rights reserved.