The current show on offer from the Chatswood Musical Society is a freshened up and slick sail through Gilbert and Sullivan’s THE PIRATES OF PENZANCE. The new production concept and musical adaptation comes to Sydney from Broadway, after a performance by the New York Shakespeare Festival. A confident and disciplined delivery of this new version ensures the 1879 show remains popular, whether audience members are familiar with the original style of operetta or not.
Though the Zenith Theatre space is not as huge as this production could fill, Neil Shotter’s great set, Anne Veitch’s direction and James Wallis’ successful lighting allow all the depth and width of the stage to be used by animated characters throughout. The basic ship set with decking and raised dais morphs speedily to suggest exterior and interior scenes when needed.
Enjoyable to all are the greatly varied personalities, plus angled expressions and posturing within any tableaux. Very funny sword swinging, truncheon wobbling and other visual gags maintain interest. At times this new version suggests lame criminals, courage-lacking cops, pop star grooming and rich kids not to be messed with. The ensemble are to be congratulated for their focus during characterisation.
Most electric on entry and with magnetic performances maintained throughout are the characters of the chest-revealing Pirate King (Andrew Dickson) and the wide-eyed patriarch, Major-General Stanley (Paul Murton). Allison Griffith’s characterisation of the sad Ruth in action and heavily accented singing is commendable, as is her Act Two transformation into a pirate and lover of a good battle scene.
The romantic leads of Frederic and Mabel are suitably in contrast to the brash characters of all others. Musically, it is a highlight for any Gilbert and Sullivan production to have such extremely capable operatic voices gracing the lead romantic roles, as is the case here. At times they could be said to be over-amplified in this venue, however they still succeed in slicing through the complexities of the score in the very exciting fashion of traditional operetta.
The voices of Joshua Oxley (Frederic) and Georgia Burley (Mabel) are well balanced with the instrumental accompaniment in the supportive and dramatic arrangement brought to life by musical director Gerard Plummer. The Act Two sequence “Stay Frederic, stay” is a fine string of dramatic and expressive singing from this pair of upcoming stars. Their vocal lines during other ensemble moments crown the texture with their purity and strength of tone.
The variety of movement from background lines to full stage-stealing choreography is continually interesting. There are surprise updates with regard to historical blocking of numbers symmetrically or with a traditional feel. The Act Two “With Cat-Like Tread” from the pirate group is one such example. Its controlled unisons and ironically not so hushed approach make it a show highlight and the number is reinvented.
As also seen in the chorus of daughters, the chorus of policeman use the stage and each other in repeatedly novel displays of individual reaction. These exaggerated facial twists and body freezes enhance the lyrics with its hilarious and updated expression.
This version of THE PIRATES OF PENZANCE contains no inserted local and modern jokes, but will appeal to modern theatre goers with its visual humour and strong group scenes. There is something for everyone within the well-paced show. Even though Kate and William could not extend their tour to cover this show, monarchists will not be disappointed.
For more about The Pirates of Penzance, visit http://www.chatswoodmusical.org