Ruth, pirate maid, has apprenticed her young charge, Frederic, to a pirate crew who are noblemen in reality. As his twenty-first birthday looms, he expects to be freed from his indentures, only to find he was born on February 29th and must remain for years to come. He has fallen in love with Mabel, one of the Major General's daughters.

The fourth of the Gilbert & Sullivan comic operas, this is one of the shortest. There are several targets for satire, among them the police, large families and, again, the English attitude to the nobility. Much of the plot is related in song, the lyrics of which are witty, so clarity in this aspect of the performance is essential. Sullivan's music displays his usual sense of fun, rhythm and melody while, as is exected from one whose background was choral, such numbers show his gift for harmony.

Setting should suggest Penzance in the 1880's with costume suitable to character.

PRESENTATION

A promenade and gardens was created in Act I. Bordered by flags, there was a band-stand which housed the musicians, the prow of a ship, flights of steps, a bathing-machine, huge parasol and deck-chairs. The setting, built on many different levels and using a sustantial apron, was backed by a jolly painted cloth which suggested the white cliffs of Dover had moved to Cornwall! In Act II, a large statue of Queen Victoria humorously (and appropriately) dominated, in lieu of a ruined chapel.

The whole formed a cheerful and ingenious background to the production helping to accommodate a large cast on the challenging acting area which is all this venue provides. Properties were suitably supplied as asked, though some of the swords looked decidedly flimsy. A good effort.

LIGHTING

Sunny brightness flooded the acting area in Act I while Act II opened in late-evening light, gradually building as day dawned, and becoming more intense stage centre. The whole acting area was adequately covered and colouring was chosen with care. Cueing was good.

SOUND AND EFFECTS

Seaside sound was used at the outset to help create location. Pick-up and relay were not used.

COSTUME

The 'girls' with their white sashed dresses, black stockings and boots, and later in cotton night-gowns, looked perfectly in period. Pirates were colourfully costumed in casual bloused shirts, trousers and high boots while policemen wore suitable uniforms. Their helmets were poor. The Major-General's costume, while correct, was not smart enough while Ruth was well-costumed in both acts. Some chorus costumes were attractive and well in period though the men ought to have sported boaters at the seaside.

MAKE UP

Amongst the men there was an excess of scratty-looking beards - allowable, just, for pirates without any pretentions to the 'daughters' - but, in general, most unsuitable for a period when side-whiskers and moustaches were worn. No Major-General would have appeared so. A free issue of razors was indicated. Anyone offering themselves for a show ought to be prepared to pay attention to period details. Some women made real efforts with hair-styles.

STAGE MANAGEMENT

appeared well-prepared.

ORCHESTRA

The small, select 'Palm-Court' type ensemble proved entirely equal to the demand, very much superior to a less-able full orchestra and to key-boards. This is the first time one has heard a simple string-group in a G&S production and the result was excellent. Very well-played. The MD gave clear signals both to orchestra and singers but, because of his position, and because some singers failed to watch him, singers and orchestra parted company on a number of occasions, notably at the opening of Act II and 'Away,Away'.

It is impossible, from this position to slow the singers. The orchestra must be moved along to catch up. Balance was very good.

CHORUS

There is a very limited demand for full choral harmony in this production but, when asked, the full chorus contributed most satisfactorily. Separate men's and women's numbers feature to a much greater extent.

It was good to see a very wide age-range among the chorus, experienced singers to provide a secure base with younger members to provide youthful exuberance. They produced a very nice accompaniment to 'Poor Wandering One' and built the finales of both acts with steadily increasing breadth, 'Hail Poetry being the best musical moment of the evening. While the females sometimes produced sounds squeaky and thin, they gave us an amusing light and tripping 'Weather' chorus. There was a nice contrast in tone quality and style between the pirates and the Police. There was an admirable clarity in diction - vital when many events are related musically. Period manners need attention to hat-raising, bows, curtseys and so on.

SINGING

The continuing decline in solo singing ability affected this company as much as many another. Until recently, a director was able to select from singers with voices suited either to light opera or modern musicals. Rarely nowadays, since few singers with potential seem prepared to undertake voice-training to develop their vocal power and range. Much of Sullivan's music makes great demands on range and technique. It is impossible just to 'wing it'. Moreover, the public, being exposed to good recorded voices, is less ready to make allowances.

The MD needs to communicate his musical knowledge and skills

to a much greater extent. His orchestral work showed sensitivity to style, mood and phrasing. Singers will mark the beat heavily and grab a breath anywhere unless they are guided. Consonants will be weighty, leaden, where they should be light. Singers are grateful to be taught not just the melody but how to sing it. They all show enthusiasm - so make the best use of it. Ruth's duet with Frederic suited her voice. Mabel has a musical voice and was able to cope with the very high tessitura of the role but 'Stay Frederic' needed more poignancy. Again there was admirable clarity of lyrics amongst all singers but few could produce a lovely legato line.

PRODUCTION

The director has an ability to create interesting and attractive stage-pictures even on this most difficult stage. He had worked closely with the designer in creating and using many varied levels. He knows how to interest the eye and how to focus attention amongst a large crowd. The production opened with a big attacking pirate entrance, immediately capturing our attention. He managed to retain it the rest of the production. Groups assembled or dispersed in interesting ways and grouping underwent subtle constant change as, for example in ‘Poor Wandering One'. The gradual building to the final group in the 'Weather' number was observed as perky, bright and amusing. The capture of the girls was neatly achieved with the girls centre stage with groups upon either side. Avoid exiting into the auditorium, it destroys the illusion. Act I built to a satisfactory climax. The mock-heroics worked well in Act II though more pirate-­like activity could have found a place. A nice balance was achieved in the organisation of 'To Gain a Brief Advantage'. Dance movements were kept to simple steps which were sufficiently suitable and effective. They amused in the march 'When Fireman Bares His Steel'. The tone of the show, humorous, boisterous with the occasional shaft of satire was carefully followed in production.

EFFORT, ORIGINALITY AND ATTAINMENT

A lively, boisterously attacking production which was always under control.

Thank you for your most kind and attentive hospitality.

Back to The Pirates of Penzance, November 1998