Pirates! The Penzance Musical

The creative duo of librettist William S. Gilbert and composer Arthur Sullivan were very famous in the musical theatre of the late 19th century. Known for their exceptional wit and a wonderful sense of parody that even modern audiences can appreciate. The authors worked on their comic operas with the producer Richard D’Oyly Carte at the Savoy Theatre in London. Their works are often called “Savoy Operas”. The use of witty wordplay and complex rhyme, satirical images of characters, and absurd elements became their signature style. It is safe to say that in the history of musical theatre, their work had a significant influence on the development of musical comedy.

As of today, one can single out two approaches to the revival of Gilbert and Sullivan’s legacy, which consists of fourteen comic operas. The first – is a reproduction of the original shows, and the second – is an adaptation according to the traditions of modern musical comedy. This comic opera has had many productions, and the last revival took place in 1981. There is also a film adaptation of the Broadway version of “The Pirates of Penzance” (1983), featuring an all-star cast.

The current Broadway revival is dedicated to the anniversary date – 145 years since the show first opened. The new musical revival, presented by the Roundabout Theatre Company, was adapted by Rupert Holmes and directed by Scott Ellis. “Pirates! The Penzance Musical” although not tied to Great Britain – Penzance in the title – was transferred to New Orleans. The producers tried to bring something new to their adaptation and to preserve the charm of the original. Some things worked, some didn’t. Perhaps, Sullivan’s music score “suffered” the most: the music received the new modern sound, and the orchestrations were “tweaked” quite a bit too. Unfortunately, the obsessive abundance of American motifs and unjustified changes in tempo in individual musical numbers hurt the overall perception of the musical material. The changes made to the lyrics in several songs, which led to a change or the birth of other meanings, as happened, for example, in “I Am the Pirate King”, are not justified.

The actors involved in the production perfectly captured the formality and rigidity of Victorian society, ridiculing such a virtue as unwavering fidelity to a given promise (Frederic). Although everything is overly melodramatic, it is clear to the modern spectator which representatives of society are being ridiculed.

The performers of Gilbert and Sullivan’s operettas usually sang in the “legit” style and used some elements of speech-level singing. The main task vocally was to “characterize” the hero. In contemporary musical theatre, the belting vocal technique as well as speech-level singing prevail. Combining several vocal styles and using different techniques is not an easy task – but the cast did a stellar job!

The leading actors - Ramin Karimloo as the Pirate King and Jinkx Monsoon as Ruth, also used markers of the physical style of the operetta characters of the time. This was especially noticeable with Jinkx Monsoon: her poses, facial expressions, and gestures served as unmistakable indicators of the feelings she was portraying. From her first appearance on stage, with the song “When Frederic Was a Little Lad”, it was clear what her character would be like. It was Jinkx who managed to fully combine the musical specificity of Sullivan’s score, with her actions and behavior on stage. To better reveal her character and Jinkx herself as the amazing performer that she is, the song “Alone, and Yet Alive”, was added in the second act – even though it comes from another comic opera by Gilbert and Sullivan - The Mikado. Jinkx performed it beautifully, but the expediency of such a step in the context of the unfolding action remains questionable.

It would be fair to state that the song “I Am the Very Model of a Modern Major-General” – is the show’s calling card. Its wide popularity, thanks to frequent citations and use in advertising, makes it part of modern popular culture. David Hyde Pierce as Major-General Stanley did not disappoint the spectators, performing his part brilliantly and receiving a standing ovation. Honestly, all the ensemble numbers with the participation of this performer became some of the most spectacular and memorable.

The dance in this production (choreographed by Warren Carlyle) sometimes served as part of the narrative but more often looked like a divertissement insert, which is typical for musical comedy. Several ensemble dance numbers were impressive, like the one featuring washboards and bells. The creators of this revival were successful in “marrying” “the Savoy Opera” and contemporary musical.

The show opens with the authors – Gilbert and Sullivan, inviting the audience to evaluate their work. Their creations have been accepted and have stood the test of time. What will happen to the modern approach to transforming comic operas into musicals? We shall see.


Photo credit by Joan Marcus