David McKechnie Archives - Page 3 of 3

The Pirates of Penzance

Palace Theatre

Reviewed – 12th December 2020

★★★★★

“in true buccaneering style, the company have grabbed the opportunity to plunder the West End”

It is worth remembering what a lasting impact the nineteenth century impresario, Richard D’Oyly Carte, had on London’s theatreland. Having brought Arthur Sullivan and W. S. Gilbert together he built the Savoy Theatre in order to stage their works. Later, in an attempt to establish more serious opera, Carte built the Royal English Opera House; which is now known as the Palace Theatre. Although it staged Arthur Sullivan’s “Ivanhoe”, none of Gilbert and Sullivan’s operettas ever made it onto the grand stage.

Until now.

Sasha Regan’s all male “Pirates of Penzance” has enjoyed success for a decade now in the UK and Australia, its journey briefly interrupted by the pandemic. But in true buccaneering style, the company have grabbed the opportunity to plunder the West End, while many theatres are still sleeping, and seize the accolade of presenting the first Gilbert and Sullivan work to play in D’Oyly Carte’s purpose-built theatre. And it deserves it.

The company don’t take the stage by storm. Instead, they use the weapons of wit, joy, irreverence, humour and harmony. It is perhaps one of Gilbert and Sullivan’s most accessible comic operas, containing some of Sullivan’s most recognised music. Gilbert’s libretto has a simplicity and clarity which matches Regan’s staging. What will lodge in the memory for a long time is how the production transports you to a bygone era. The space is vast, even by West End standards, but the cast fill it completely with a stripped back set, one piano, a bunch of finely tuned singers, and not a single microphone between them. Nothing is forced either. Musical Director Richard Baker’s piano notes and arpeggios float across the auditorium carrying the voices with them to the far corners of the theatre. Lizzi Gee’s superb choreography may have been devised with smaller spaces in mind, but the physicality of the ensemble make no apologies and they pull it off.

Set during Queen Victoria’s reign on the coast of Cornwall, the story concerns the dutiful and soft-hearted Frederic who, having reached his twenty-first year has been released from his apprenticeship to a band of equally benevolent pirates. He promptly falls in love with Mabel, the daughter of the very model of a modern Major-General. Yet he soon learns that he was born on the twenty-ninth of February, so only has a birthday every four years. Which makes him only five years old, meaning he has another sixty years to serve. What ensues is a gorgeous romp through the themes of courage, duty and honour.

Alan Richardson, as Mabel, stuns us with his soaring falsetto. But it is unfair to single him out, the entire ensemble is pitch perfect, from bass through to soprano. It is credit to the cast that at no point does it really occur to us that we are watching men dressed as women. There is plenty of chest and facial hair on view, but such are the nuances, mannerisms and finesse of the cast, we are convinced. This is not high camp; it is not drag; it is character acting at its finest. Tom Senior’s Frederic is just as convincing, and you believe in the chemistry between the actors. Leon Craig’s hapless nurse, Ruth, is a master of comedy, vying for the laughs with David McKechnie’s Major-General. The accolades, though, belong to the entire team and given space they would all receive a special mention.

The continued success of the all-male “Pirates of Penzance” is undoubtedly on dry land; and this stunning production feels completely at home in the West End. Yes, maybe it might not have made it there in normal times (though I like to think it would), but we can certainly hoist the flag to celebrate one of the most delightful, innovative, funny and musically rich interpretations of Gilbert and Sullivan.

Reviewed by Jonathan Evans

Photography by Danny Kaan

The Pirates of Penzance

Palace Theatre until 13th December

Recently reviewed by Jonathan:

What a Carve Up! | ★★★★★ | Online | October 2020

Falling Stars | ★★★★ | Online | November 2020

Marry me a Little | ★★★★ | Online | November 2020

Rent | ★★★★★ | Online | November 2020

Right Left With Heels | ★★★★ | Online | November 2020

Ute Lemper: Rendezvous With Marlene | ★★★★★ | Online | November 2020

Salon | ★★★ | Century Club | December 2020

The Flying Lovers of Vitebsk | ★★★★ | Online | December 2020

The Dumb Waiter | ★★★★ | Hampstead Theatre | December 2020

The Elf Who Was Scared of Christmas | ★★★★ | Charing Cross Theatre | December 2020

Click here to see our most recent reviews

★★★★

“The cast were in fine voice throughout what must be something of an operatic endurance test”

The Pirates of Penzance, along with The Mikado, is probably the most well known and loved of the Gilbert and Sullivan operettas. ‘I am the very model of a modern Major General’ and ‘A policeman’s lot is not a happy one’ have long since become part of the English cultural kit-bag, and Wilton’s is the perfect setting for Sasha Regan’s revival, imbued as it is with nostalgia, and the ghosts of early revue, vaudeville and musical theatre. The plot is utterly nonsensical, involving a crew of sentimental pirates (they have a soft spot for orphans), an indentured crew member there under false pretenses (his nursemaid thought she was apprenticing him to a pilot), a Major General and his bevy of daughters, and a well-meaning but terrified posse of policemen. Amidst this chaos, our hero Frederic (the pirate-by-proxy) falls in love with Mabel, one of the Major-General’s daughters, and, predictably, after various travails, finally marries her. Suffice it to say, that no-one goes to a Gilbert and Sullivan for the plot!

Gilbert and Sullivan’s enduring appeal lies in the marvellous marriage of music and lyrics that this extraordinarily brilliant duo brought to the stage, and Sasha Regan’s talented cast – with superb musical direction from Richard Baker – performed with skill and evident relish throughout. The opening number smacked a little too much of all-boy burlesque, but ‘I am a pirate king’, two songs later, brilliantly delivered by James Thackeray, steadied the ship and it was pretty smooth sailing henceforth. For the most part, the production successfully trod the delicate line between affectionate high camp and embarrassing caricature, though there were moments, in the first half particularly, which needed to be reined in. Each of the play’s female leads (Alan Richardson as Ruth; Tom Bales as Mabel) was at their most compelling when at their least performative, and Tom Bales beautifully captured the yearning and romance in Mabel’s duet with Frederic, ‘Stay, Frederic stay’. David McKechnie was a splendid Major-General – full of pomp and pathos; and Sam Kipling gave a lovely comic cameo in the role of Edith.

The cast were in fine voice throughout what must be something of an operatic endurance test, particularly for the female leads; Alan Richardson as Ruth stood out in particular in terms of vocal strength and clarity. Lizzie Gee’s choreography was full of fun, and the ensemble work was terrific. Particularly memorable were the young ladies’ fluttering entrance through the gallery, the antics of the moustachioed policemen, and the fast and furious ‘A paradox’. The show cracked along and seldom lost pace, and although some of the lyrics were lost in the bigger ensemble numbers (‘Stay, we must not lose our senses’), the judicious combination of well-articulated singing and Wilton’s acoustics ensured that W.S.Gilbert’s sparkling wordplay delighted as it should.

The Pirates of Penzance was Gilbert and Sullivan’s fifth collaboration, which premiered in New York in 1879. One hundred and forty years later, its loony plot, catchy tunes and witty lyrics still have the power to entertain a packed house, and reduce an audience to tears of laughter. A great deal has happened in that time however. Ironically, Sasha Regan’s all-male production actually takes the sting out of some of the book’s more toe-curling moments with regard to women – I’m thinking particularly here of Frederic’s early treatment of Ruth – but it does seem dated in all the wrong ways to see an all-white cast in 2019, and it is to be hoped that this issue will be addressed when taking the show forward. Let’s get some more pirates on board!

Reviewed by Rebecca Crankshaw

Photography by Scott Rylander

Palace Theatre

Reviewed – 12th December 2020

★★★★★

“in true buccaneering style, the company have grabbed the opportunity to plunder the West End”

Until now.

Reviewed by Jonathan Evans

Photography by Danny Kaan

The Pirates of Penzance

Palace Theatre until 13th December

Recently reviewed by Jonathan:

Wilton’s Music Hall

Reviewed – 26th February 2019

★★★★

“The cast were in fine voice throughout what must be something of an operatic endurance test”

Reviewed by Rebecca Crankshaw

Photography by Scott Rylander

The Pirates of Penzance

Wilton’s Music Hall until 16th March

Previously reviewed at this venue: