PIRATES OF PENZANCE

By Diana Simmonds

February 20 2025

PIRATES OF PENZANCE - or the Slave of Duty, Hayes Theatre Co with the Art House, Wyong, at the Hayes Theatre, 14 February - 16 March 2025. Photography by John McCrae

Although still Gilbert & Sullivan, this new production is definitely “adapted” by director Richard Carroll with co-arranger and musical supervisor Victoria Falconer – and to fabulous effect. To be sure, however, if you’re a G&S purist there’s every chance you’ll hate it, but for normal people, it’s a delight.

It’s faithful(ish!) to the original story and songs while at the same time playing fast and loose with pretty much everything else. And the most startling – and successful – aspect of these Pirates is the amalgamating of the traditional cast of 10-12 to four, plus one onstage swing. The result is more glorious nonsense than you could swing a sabre at.

The opening sets the tone of irreverent fun. With the assistance of members of the audience (avoid the chesterfields if you’re allergic to participation) a crew of unusually kind-hearted pirates, led by the Pirate King (Jay Laga’aia), celebrate the 21st of Frederic (Maxwell Simon) a gorgeous boyo whose heretofore dormant sense of duty is ignited by the big birthday.

We also learn that pirate and nursemaid Ruth (Brittanie Shipway), had long ago been required to apprentice the boy to a harbour pilot, but misheard and … yo ho ho. Frederic declares he must now become a gentleman and not only forsake piracy but also help the authorities do away with its perpetrators. Before taking his leave, however, he advises the King that his soft heart and reluctance to harm any orphan are why he is unusually unsuccessful as a pirate.

Ruth decides that a life of indolence as a married lady would be preferable to being an outlaw and persuades Frederic to marry her. He reluctantly agrees as she assures him she’s beautiful even though she’s an old woman – of 37. All is well(ish) until he spies a bevy of scrumptious young women (Laga’aia, Billie Palin, and Trevor Jones) and, although two are hirsute and burly, he realises he’s been had.

Set in the far west of Cornwall, G&S’s two-act operetta was first staged on Broadway in 1879 (in a vain attempt to stop the pirating of their work by American producers). It was a hit with critics and audiences, not least for its instant classic patter song I am the Very Model of a Modern Major-General – delivered brilliantly at the Hayes, from the piano, by Trevor Jones as the outraged father of Mabel (Brittanie Shipway – she gets about).

Thanks to quick changes, an ever-trundling upright piano, much sleight of hand, false beards, moustaches, wigs, gowns, and other accoutrements, it’s not only Shipway who multi-tasks. Billie Palin does time as a swashbuckler and a policeman. Lag’aia and Jones prove to be dab hands with a lady’s fan and flirtatious simper. The tiny but multitudinous crew is a constant visual feast, thanks to choreographer and assistant director Shannon Burns.

With pokes at the British Empire and some apposite local references, equal opportunity mayhem is a given over two acts and two hours. There’s an atmosphere and look of old-school pantomime and carnival in the set design (Nick Fry), costumes (Lily Mateljan), and lighting (Jasmine Rizk). Sound designer Daniel Herten pulls off the near-impossible feat of wiring the show without deafening the audience or losing anything from the complex text and lyrics and switches from operatic to soul voices.

The extraordinarily hard-working performers are totally in tune with what they’re about and are a joy to watch – as is Sherydan Simson who is more Field Marshal than stage manager. It’s witty, silly, exhilarating, irreverent, and exuberant. I loved it!