Richard Baker Archives - Page 5 of 6

The Pirates of Penzance

Wilton’s Music Hall

Reviewed – 26th February 2019

★★★★

“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

The Pirates of Penzance

Wilton’s Music Hall until 16th March

Previously reviewed at this venue:

Songs For Nobodies | ★★★★ | March 2018

A Midsummer Night’s Dream | ★★★½ | June 2018

Sancho – An act of Remembrance | ★★★★★ | June 2018

Twelfth Night | ★★★ | September 2018

Dietrich – Natural Duty | ★★★★ | November 2018

The Box of Delights | ★★★★ | December 2018

Dad’s Army Radio Hour | ★★★★ | January 2019

The Good, The Bad And The Fifty | ★★★★ | February 2019

Click here to see more of our latest reviews on thespyinthestalls.com

★★★★

“we can almost smell the absinthe wafting through the high kicks, cartwheels and splits”

This year, in the fourth of the Union Theatre’s ‘Essential Classics’ seasons, director Phil Willmott has turned to the theme of ‘Enemies of the People’, highlighting the process by which a ruling elite can attempt to silence not just opposition but also more benign threats that come in the shape of a ‘free spirit’. History has often taught us that the privileged class does not always know what is best for the common good; an argument that comes to the fore in the new musical, “Can-Can!”.

Not to be confused with Cole Porter’s fifties musical of the same name, also set in 1890s Paris, “Can-Can!” takes us into the heart of La Belle Époque, when Paris, formally scandalised by its artistic community, began to celebrate these former outcasts. Willmott’s production, directed by Phil Setren, is brazen and brave, capturing the very exuberance of the period. A real kaleidoscope of a show, it wears its influences openly. Taking as its starting point Jacques Offenbach’s ‘Orpheus in the Underworld’, which introduced the Can-Can dance to the world, it fuses operetta with music hall and transplants it into a plot loosely based on Arthurs Wing Pinero’s ‘Trelawny of the Wells’. Onto this already rich backdrop are added the real-life cabaret characters from the Moulin Rouge (in particular Jane Avril and ‘La Goulue’) made famous by Toulouse-Lautrec’s paintings (the artist himself is also painted into the scenario).

The concept is fascinating, and inspired decisions are made. But like the assortment of source material, the show itself is a bit of a mixed bag. It takes until the second act to find its true tempo. For a musical comedy the timing sometimes slips and misses the pulse, while the rhythm of the dialogue suffers from palpitations. But the choreography does not miss a beat. Adam Haigh’s routines are simply stunning, thrillingly performed by the all-dancing cast whose energy threatens to burn a hole in Justin Williams’ and Jonny Rust’s evocative rotating set. Further aided by Penn O’Gara’s authentically flamboyant costumes, we can almost smell the absinthe wafting through the high kicks, cartwheels and splits.

The script, however, occasionally threatens to douse the fuse that is leading to the explosive finale. But luckily the spark manages to stay alight thanks to a story that bears all the hall marks of a well-structured, crowd-pleasing yarn. Jane Avril (the subtly operatic Kathy Peacock) gives up the stage when she decides to marry her well-healed sweetheart, Christian Bontoux (Damjan Mrackovich) only to find life unbearably dull, trapped in her fiancé’s austere household that detests her unrestrained personality. Escaping back to the theatre, she breaks her own heart as well as that of her beloved, who has also defied his tyrannical father in order to pursue the troubadour life.

If the action occasionally lags it is soon buoyed along by some stand out moments: the dream-like ballet sequence between Peacock and Mrackovich; or the final scenes of reconciliation during which Phil Willmott’s authoritarian character finally secures the audience’s sympathy. Secrets are revealed in some heartfelt revelations to the famous Cabaret Queen ‘La Goulue’ (a marvellously camped up performance from PK Taylor) that give us a surprising back story.

Despite a few splutterings on the way, “Can-Can!” ends with a bang and reminds us of the true intention of the piece. Which ultimately is to entertain. That it succeeds is confirmed by the exuberant hand-clapping from the audience along to the closing number.

Reviewed by Jonathan Evans

Photography by Scott Rylander

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:

Union Theatre

Reviewed – 13th February 2019

★★★★

“we can almost smell the absinthe wafting through the high kicks, cartwheels and splits”

Despite a few splutterings on the way, “Can-Can!” ends with a bang and reminds us of the true intention of the piece. Which ultimately is to entertain. That it succeeds is confirmed by the exuberant hand-clapping from the audience along to the closing number.

Reviewed by Jonathan Evans

Photography by Scott Rylander

Can-Can!

Union Theatre until 9th March

Last ten shows reviewed at this venue: