The Pirates of Penzance - 7 out of 10
SA Light Opera Society
TICKETS: https://www.trybooking.com/events/landing/1507656
The Pirates of Penzance; or, The Slave of Duty remains a crown jewel of the Gilbert and Sullivan canon. Interestingly, it is the duo's only operetta to premiere in the United States—opening on New Year’s Eve 1879 in New York—a strategic move to secure copyright protections following the rampant "piracy" of their previous works. In their latest production, the SA Light Opera Society honours this legacy with a performance that leans into the genre's inherent charm.
The plot follows Frederic (Andrew McKinnon), who, having
reached his 21st year, is finally released from his apprenticeship to the
Pirate King (Wade Shiell) and a band of surprisingly "tender-hearted"
buccaneers. Upon spotting the many daughters of Major-General Stanley (Brendan
Watts), Frederic is bound by honour to reveal himself, eventually falling for
the spirited Mabel (Chany Hoffmann).
However, his path to respectability is derailed by a classic
G&S technicality. His nursery maid, Ruth (Maria Geraghty), reveals a
shocking oversight: born on February 29th, Frederic has had only five
birthdays, not 21. By the strict letter of his indentures, he must remain a
pirate for another 63 years. It is a tale of absurd duty, resolved only by a
final, patriotic twist.
Director Bronwyn Calvett has crafted a production that
"meets the cast where they are." With charming blocking and lively
choreography, she captures the essence of community theatre: the pure joy of
performance. While the age gap between McKinnon’s Frederic and the character’s
literal "five and a quarter years" is initially jarring, the audience
quickly settles into the internal logic of the production. Calvett and SALOS
are clearly navigating the ageing landscape for operetta, but if they maintain
this calibre of performance, a resurgence of interest in the genre seems
likely.
Musical Director Helen Loveday has achieved impressive
results with the 31-member ensemble. Their unamplified group harmonies provide
a rich, full sound that fills the Tower Arts Centre beautifully. My only
technical grievance lies in the keys: shifting certain solos or duets up a
whole step might have allowed the lower voices more resonance. Both Wade Shiell
and John Wilson (Sergeant of Police) embodied their roles with conviction,
though both occasionally struggled to find the depth and "bite"
required at the very bottom of their ranges. Beyond the stage, Loveday has
assembled an orchestra that sounds thoroughly well-rehearsed, responding with
precision to her every cue and providing a solid foundation for the performers.
McKinnon’s experienced tenor carries the show with ease,
finding a perfect foil in Hoffmann’s pitch-perfect soprano. Hoffmann truly
soars above the ensemble, navigating Sullivan’s intricate embellishments with
grace. They are joined by Maria Geraghty, whose Ruth is suitably comic; her
rich contralto handles the character's sung lines with effortless ease. Watts
is a very capable Major-General, taking the much-loved "I am the very
model of a modern Major-General" at a pace suitable for the skills of all
involved without feeling tired. The vocal highlights continued with the
“paradox” trio, which featured McKinnon, Geraghty, and Shiell, beautifully
blended in their harmonies, capturing the playful complexity of the number.
Sean Nugent also provided a vocally steady performance as Samuel, the Pirate
King’s Lieutenant, anchoring his scenes with a reliable presence.
Special mention must go to Emily Rawlings as Edith. Light
opera is a vital training ground for emerging talent, and Rawlings proves
herself more than ready for future lead roles. Additionally, Sandra Fameli
provides a delightful "character to watch," adding unique texture to
the background action.
Maria Davis’s set design is uncomplicated and effective—it
provides the necessary atmosphere without cluttering the stage. Similarly, Paul
Tossell’s lighting design relies on clean washes and traditional spotlights,
showing a deep intimacy with the venue’s layout.
SALOS’s Pirates of Penzance is a fun, well-executed
production that deserves an audience beyond just the friends and family of the
cast. It is exactly the kind of spirited light opera Adelaide needs to see more
of.
- Scott
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