If you’re someone who is unimpressed by a show if it doesn’t have lavish sets, you probably won’t like this.
Tom Newland as Pirate King and David McKechnie as Major General | Photo © Mark Senior
Likewise if you are a Gilbert and Sullivan purist who believes their productions should only be staged in the 130-year-old classic style, it might be best to avoid.
If, however, you are looking for a show bursting with talent, invention and joyous playfulness, get yourself down to the Theatre Royal for this week’s The Pirates of Penzance.
Director Sasha Regan first unleashed her eye-catching all-male production of Pirates onto the world 15 years ago, including a residency at Wilton’s Music Hall in London (a beautifully atmospheric venue well worth seeking out), and has gone on to present celebrated all-male versions of four other G&S classics.
Most of these operettas are very dated (for example there is always an older female character in them who must be mocked simply because she is mature and plain), but when presented by a youthful male cast, such issues appear less problematic and it highlights instead the zany fun of the ludicrous plotlines.
The cast morphs seamlessly from rambunctious pirates to dainty virginal maidens and cluelessly lumbering constables (complete with stick-on eyebrows and ridiculous moustaches on handles), and look like they are having a lot of fun doing so.
The protagonist Frederic believes he has reached the end of his indentures as pirate apprentice, and is played wisely straight by Cameron McAllister who has a stunning tenor voice.
He falls in love with Mabel; Luke Garner-Greene brings great pathos and coquettishness to her, and how he hits those high soprano (countertenor?) notes is a wonder of the modern age.
Eye-candy is provided by Tom Newland and Thomas Griffiths as the swaggering Pirate King and sidekick Samuel, and Robert Wilkes ad-libs shamelessly as the neglected Ruth, giving us a combative Nora Batty-style character concealing a soft centre.
David McKechnie is a prancing delight as the pompous Major General, complete with a broom for a horse, and listen out for a stunning high note from Joe Henry as Isabel, who makes it seem so effortless.
The choreography by Lizzie Gee is fresh, inventive and playful, and designer Robyn Wilson-Owen’s unchanging set (a bare stage of just a few crates and some weather-forecast-style clouds) may irritate some but allows the focus to be on the acting, singing and clowning where it should be.
Josh Bamling’s costume design keeps the look loosely period but restricts itself to white, ivory and cream throughout (except the Major General’s scarlet jacket); the look is fresh and eye-catching.
Musical accompaniment by Giannis Giannopoulos is a solitary piano, but you soon forget the absence of an orchestra, which would in any case drown out the gorgeous un-miked singing.
The success of Regan’s all-male G&S shows lies in their blending of high camp, playfulness and poignancy, and this is provided here in spades.
There are many stand-out moments to savour, including the hilarious entrance of the girls in Climbing Over Rocky Mountain, their disgust at the pirates which the same actors were playing five minutes ago, and the use of the auditorium for chase and stalking scenes, replete with basic tea lights.
This feels like how G&S would be staged by naughty schoolboys at boarding school on a limited budget, and is all the better for that. Silly, sassy, superb – go see.
The Pirates of Penzance is showing at Theatre Royal Bath until 7th December. Box office: 01225 448844.
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Reviewer: Steve Huggins
