The Pirates of Penzance – Wilton’s Music Hall, London – The Reviews Hub

for many The Pirate of Penzance is the pinnacle of Gilbert and Sullivan’s comedy operettas. WS Gilbert’s libretto is one of his silliest but funniest, and while Arthur Sullivan would go on to create more notable scores in other operas, here he perfectly suits Gilbert’s sense of light comedy.

In the 15th year since it first debuted at the Union Theatre, Sasha Regan’s all-male production continues to lean on comedy, expertly elevating the jokes at every point. There is inherent humor in an ensemble of brawny young men playing the daughters of Major General Stanley (David McKechnie), of course. However, Regan shows that he understands Gilbert’s jokes on the printed page, and how the performance and banter of the gaze can enhance the process.

The story is light. Frederick (Cameron McAllister) is a 21-year-old in Victorian England who is about to terminate his contract with the eponymous Pirates of Penzance. His apprenticeship is the result of a mistake by his carer, Ruth (Robert Wilkes), who mishears a request to allow him to train as a pilot. Frederick’s sense of duty is such that while he will remain loyal to Tom Newland’s Pirate King until the last second of his contract, he intends to rid the land of pirates once it is freed.

Add to that the pirates themselves being honorable (they refuse to prey on ships smaller than their own and feel compelled to release any prisoners they say are orphans) that when Frederick meets Luke Garner-Greene’s Mabel and her sisters, they were the first women (except Ruth) he had seen, and that since he was born on February 29, his actual release from piracy would not come until his 21st birthday in 1940, the scene is prepared for two hours of operetta nonsense.

Musical director Yannis Giannopoulos works hard to play Sullivan’s music so effectively, with his piano as the ensemble’s only musical accompaniment. In the faded splendor of Wilton’s Music Hall, this music never feels out of place, except perhaps for the Act II appearance of Louis Kennedy’s sergeant and the rest of his police team. Their stomping boots occasionally drown out both the piano and the ensemble’s subtle vocal performances, but such moments are brief.

And it’s the vocal performances that make or break any Gilbert and Sullivan performance. Here, the all-male cast necessarily requires very high voices. And while some of the ensemble’s falsetto tones occasionally slip, there are also some accomplished countertenor performances, particularly from Garner-Green as Mabel. Without additional amplification, the occasional phrase is lost in the Wilton’s acoustics. Still, overall, Garner-Green delivers a bravura performance that compares musically to many women who have taken on the role.

In contrast, McAllister’s Frederick is equally strong musically, although in mainstream scenes he tends to lose himself in a way that a traditional musical theater character should not. This is partly due to the costume design, which dresses almost the entire ensemble in the same natural linen colors. Some characters jump out – Newland’s pirate king in his embroidered coat, or McKechnie’s initial appearance as a major general in hunting red – but otherwise it’s the charismatic performance that catches the eye.

Such performances abound everywhere. Chief among them is McKechnie, who delivers as well-rounded a performance as Gilbert’s script could allow. Wilkes similarly milks Ruth’s performance throughout Act I; although the heroine remains in the background in the second act, Wilkes ensures that her presence is still felt.

There may be quibbles here and there – perhaps the pirate king could use more bass in his tones, perhaps the fear of the policemen is a bit over the top – but the overall impression is pure joy. Pirates of Penzance always considered one of Gilbert and Sullivan’s most accessible works, and this production confirms that in every way. Unlike the policemen on stage, the fate of this audience is very happy.

Runs through November 23, 2024 and tours thereafter