By james art BY ALLAN SHERRED
AAlthough American musical theater has had a colorful existence of innovation and evolution, it owes that existence to the operetta genre that graced the stages of England and Europe during the latter half of the 19th century. It is true, however, that time and changing theatrical sensibilities have relegated most operettas to the dusty shelves of the past, and the music and tabloid stories exist only as curiosities for historians. There are exceptions to this fact – most notably the English operettas of librettist William S. Gilbert and composer Arthur Sullivan and their topsy-turvy world of comic satire that pokes fun at twisted logic and ridiculous human conceits. Along with significant attention from Broadway producers, American opera companies were drawn to the works as a way to expand their repertoire into lighter music to contrast with their traditional operatic offerings, retaining the emphasis on impressive voices and appealing staging. This is certainly the case with Knoxville Opera and their delightful and incredibly entertaining production of The Pirates of Penzance at the Tennessee Theatre.
Clever word-humor lies at the heart of Pirates just as with all of Gilbert and Sullivan’s works. It is true that some of Gilbert’s satire and Sullivan’s musical parody have faded in the topicality of their references, but there is still much for modern audiences. The great joke about the Victorians began with the title. In 1870, Penzance is a sleepy little resort town on the coast of Cornwall, not exactly a place where one would expect to find vicious pirates – or pirates at all, really. Of course, these pirates are not typical, they have a soft spot for orphans and are loathe to attack anyone weaker than themselves.
Gilbert’s reference for the character of Major General Stanley is often said to be the popular general of the time, Sir Garnet Wolseley. Of course, any such parody is completely lost in time in meaning and geography, but you don’t need to know that to enjoy one of the most delicious comic characters in musical theater. This production features baritone Troy Cook as Major General Stanley, father of a mind-boggling array of “mostly” eligible daughters and a “primary” source of the production’s comic gravitas, as well as its visual and vocal comedy. Cook struck a wonderful balance between festivity and feigned seriousness, embracing satire with open arms. Most importantly, he delivered the tongue-twisting, high-speed song “I’m the very model of a modern Major General” with as satisfying clarity and humor as is possible in the context of a modern major theater. And, yes, kudos to the supertitles and some judicious boosts that allow the comic satire of the lyrics to work for 21st-century audiences.
The love roles of Frederic and Stanley’s daughter Mabel were taken by tenor Derek Stark and soprano Hannah Brammer. Stark was satirically heroic and vocally impressive, his boyish countenance and clear lyrical tenor making him the perfect Frederick. Brammer, making her Knoxville Opera debut, offers a beautifully powerful and flexible soprano to the couple in love. Mabel’s aria “Poor Wandering One” was truly delightful and satisfying, no doubt intended as a parody of Italian coloratura, perhaps by Donizetti.
No stranger to playing the Pirate King, baritone Craig Irwin is also a UT Opera Theater graduate and has appeared in several Knoxville Opera productions in recent years. Irwin’s nature, incredible stage presence and impressively thick voice were all he needed to reprise his role. Of course, every pirate king needs a loyal sidekick to keep things running smoothly. Baritone Daniel Spiotta, a Knoxville crowd favorite, was incredible as Samuel, adding his own comic flair to his buckle and rich voice and colorful character to the pirate crew.
Some productions of Pirates seem to downplay the role of Ruth, the “Maid of All Work,” whose confusion of the words PILOT and PIRATE was at the root of poor Frederick’s misapprenticeship. Fortunately, however, KO and stage director Dean Anthony saw things differently and cast the amazing Joyce Campana as Ruth, giving the role depth and a strong comic presence through her great vocal articulation.
UT Opera Theater members Meghana Krish and Nicole Dayton were Stanley’s featured daughters Kate and Isabelle, respectively. Soprano Ashley Victoria Jones, who made her knockout debut, was Edith Stanley.
Stage director Anthony also found success with his ensemble groups and choreography, whether they were pirates, Stanley’s daughters, or the Keystone-like bumbling police force led by their sergeant, bass Alan Michael Jones. Kudos also goes to choir master Christy Lee for the choir glue that is the charm of the colorful mass stages.
Conductor Joseph Mehavich was at the Tennessee Theater with the Knoxville Symphony Orchestra, having last conducted last year’s KO production of The traviata. Again, Mechavich brought a textured precision to the orchestrations that were lovely and charming, and put Sullivan’s lyrical music in the best possible light. From a theatrical point of view, however, one could wish for a little more energy and more distinct dynamics in scenes where musical numbers are dropped and dramatic points are made.
The Knoxville Opera House The Pirates of Penzance there is another performance on Sunday, October 27 at 2:30 pm at the Tennessee Theatre.
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