The Pirates of Penzance (Queanbeyan Players) - Review

 

 Away to the cheating world go you,
Where pirates all are well-to-do;
But I'll be true to the song I sing,
And live and die a Pirate King!

The cast of Queanbeyan Players' The Pirates of Penzance. Photo by Photox

Oh, you've definitely heard of this one before. The Pirates of Penzance is a show that needs no introduction; generally, it can be considered to be an undisputed pillar of musical theatre, one that every performer worth their salt will have undertaken the Thespian-like Tread to perform by the time their days on stage are over. To younger folks (like myself, for however long that will last), it's easy to see the lifespan of this thing and harrumph over how theatre has evolved beyond the need for Gilbert and Sullivan's classics, but, when done on a level such as this, The Pirates of Penzance reminds the theatre of today why it has remained in such tall order within the musical theatre canon. 

 

Above all else, this is a show that makes the simplest of demands to the cast and crew that dare to approach it; to have bloody fun with it, and make sure the audience does too. And the scallywags at Queanbeyan Players have done just that, as well as ensured it is a night of not just fun, but quality fun. It hardly gets better than this.

 

Director Alison Newhouse and Assistant Director Jodi Hammond present old-fashioned fun as it was always intended, with slight changes made to accommodate for the theatre of today. Newhouse offers the larger-than-life characters, an equally believable and whimsical world, and a tone that shrieks "fun" right in the face of its audience, much to their sheer euphoria. Another striking element of her direction is her desire to add to the experience, and never to subtract; in their casting, Newhouse and her team have incorporated a gender-diverse approach to a show that is classically very gendered. Instead of altering the gendered language of the original script, Newhouse instead finds fun ways of retooling that language for comedic purposes, adding to the humour of the script, rather than subtracting. 

 

Musical Director Jen Hinton and her band are once again a perfect fit for the show, not only in Hinton's trademark harnessing of the finest of ensemble vocals and her band's orderly and tightly-ran command of the score, but also, remarkably, in their stage presence. Hinton's 18 person-band are kept under the tight command, and yet, they too are able to participate in the show, from holding up numbered placards and heckling the characters, to seamlessly belting out perfect rendition after perfect rendition. Hinton too has a remarkable stage presence throughout, maintaining an excellent rapport with her performers, from whom she has ushered forth a wondrous sound, both individually and as a whole. 

 

Jodi Hammond also serves as the choreographer of the show in addition to assistant direction, and the movement on stage is phenomenal, both in larger and smaller scale numbers, executed with great faith by the cast. A sucker for utilising a theatre's space am I, and utilise it Hammond does, allowing for large-scale group movements that utterly blew me away. The cast moves with a calculated discipline induced with joyous whimsy, resulting in a show that moves, commanded by both skill and fun in equal measure. 

Pictured from left to right: Frederic (Lachlan Elderton), Pirate King (Adam Best), and Samuel (Wally Allington).  Photo: Photox

The cast is a fine-picked band of merry thespian talent, showcasing some of the greatest character work the Canberra scene has on offer, both in its leads and its ensemble. The show rides and dies with its Pirate King, and luckily, with a name befitting his suitability, Adam Best is astutely perfect in the role. He offers a swashbuckling trickster, with a disposition that is charming from minute one. Sung with panache and delightfully funny, Best is also an utterly astounding performer physically, throwing himself about the stage (and oftentimes falling directly into it) to the sheer delight of the audience, who showered him in applause for even the smallest of running gags and comedic pay-offs. He is well matched by Lachlan Elderton, who presents a Frederic that is not only true to the character, but imbued with a sardonic charm that adds to the fun of this chaotic playfulness. When not rolling his eyes at the silliness surrounding him, Elderton's Frederic also sings beautifully, often reminding the audience just how beautiful the music of this show is on a technical level, and why it has endured; a principle further enforced when joining forces with the impeccable voice of Demi Smith, who herself offers a simply fabulous turn as Mabel. 

David Cannell is a perfect fit for the Major-General, providing a well-enunciated rendition of the number of all numbers, "I am the very model of a modern Major-General", which is of course updated lyrically in a manner that had the audience cackling. His snappy one-liners and wonderful disposition were some of many comedic highlights of the show. Elsewhere, Wally Allington's Samuel, maintaining a hearty rapport with Best's Pirate King, was also strongly individualised and charming, and Louise Gaspari's Ruth was a loveable riot that made it her business to steal as many scenes as she was in, while also wowing the crowd with stunning vocal mastery.

Emma White, Tina Robinson and Lillee Keating are a smashing trio of daughters, sending the audience into fits from the second they are introduced in "Climbing Over Rocky Mountain", whereas Joe Moore's Police Sergeant is suitably stiff, yet clown-like in both his numbers and his subsequent pursuit of the pirates. The Trio and Moore are each well supported by a tight-knit group of ensemble members that give these numbers an oof, both comically and technically. 

The ensemble too, is full of performers that, while lacking in named parts, is still charmingly individualised, be it Zac Izzard's unenthusiastic-about-kick-lines pirate, Patrick Manders' shriek-prone policeman, or Alexandra McLaughlin and Aleisha Croxford's alluring yet neglected piratesses. There is a strong commitment by the ensemble to remain both stand-out in their individualism, yet united in their merriment, resulting in a cast that not only supports its principle members, but is insanely fun to watch.

The costume designs of Helen McIntyre are superbly fun, and wonderfully coloured, with the Major general's uniform and accompanying fez and the Pirate King's wonderful peacock-plucked hat being particular favourites. The set was deceptively simple, with an exceptional artistic detail paid to its presentation assisting in fully immersing the audience upon the seas of the show, whilst allowing fun opportunities for cast interaction. Zac Harvey's lighting design was wonderfully evocative and further added to that mission of immersion with its dynamic gradient backdrop, and Telia Jensen’s sound design was well-balanced and brilliant in its minimalism. 

Haven't seen The Pirates of Penzance yet? Well, Queanbeyan Players' production is a simply incredible first impression to have, and it doesn't get any better than this. Presented by a creative team with love for both its current day audiences and the era from which the show is plucked from, with a cast of fantastic performers in tow, it is a rendition of a classic that cannot be missed. What's more, this is a show that that is distinctly of the here and now, despite the age of its script; you will not see another production like it again. So, don your feathered cap, keep your cutlass handy, and set sail for the Q; be sure not to miss this humdinger of a show!

Tickets: https://qprc.sales.ticketsearch.com/sales/salesevent/140670