Theatre review: Pirates of Penzance
Bradford Alhambra

Don’t be put off by the words Gilbert and Sullivan. This show is tremendous fun, with lots of cheeky twists and turns. 

Direct from London’s West End, this modernised version of the G&S operetta started life as an outdoor production in Central Park, New York, where it caused a huge sensation. 

Just as Gilbert and Sullivan brought opera to the people in their day, with a few laughs along the way, this Olivier Award-nominated production has been souped-up for mass appeal. And it works beautifully.

The raucous tale of pirates, policemen, romance and a Modern Major General has been updated to suit a modern audience, but still retains the trademark G&S humour and classic score. 

It’s all swashbuckling high octane fun – with an Elvis impression, a pantomime sing-along, and some Keystone Cops-style slapstick fooling thrown in. 

Gary Wilmot was superb as the Pirate King. He had the audience in his command, drawing laughs with just the raising of an eyebrow and some impromptu asides. And Su Pollard was a delight as comic nursemaid Ruth.

Great performances too from David Alder as the Major-General and Joshua Dallas as Frederick. And the Major-General’s daughters were simply hilarious. 

You don’t have to be a G&S purist to enjoy the classic score – highlights included Oh, Better Far To Live and Die, When a Felon’s Not Engaged in His Employment, and Poor Wandering One. 

With a spectacular set, lavish costumes and faultless cast, this show will leave you cheering for more.

The applause from last night’s packed out crowd continued long after the curtain had fallen. A perfect sunshine tonic for a wet February.

Emma Clayton

This Is London

URBAN PIRATES IN THE PARK!
 

Is it Gilbert or is it Sullivan, the treasure presented by the Pirates of Penzance? At Regent’s Park Theatre in the open air the (amplified) words get closest attention. But, of course they are inseparable twins, G and S. It’s tunes that you come out humming, even if Steven Edis’s incredibly economical arrangement for this 1980 Joe Papp New York Central Park version is hard on Sullivan. 

It uses eight instrumentalists, two with versatile electronic keyboards, including the excellent musical director, Catherine Jayes — as in last year’s memorably energetic staging by Ian Talbot, of which this version, with new sets and different costumes, is a close cousin. Singing may not be the whole point. But even in Victorian punning rhyming rap, the patter of tiny words benefits from firmer voices. Sullivan’s sturdy thread deserves better. 

It’s wonderful theatrical gamesmanship. All the gently satirical elements are deliciously unfading: nursemaid Ruth’s ludicrous mistake indenturing Fred as an apprentice pirate, his leap-year birthday, the revelation that the pirates are just peers who have gone wrong, a topical arrow scoring bull’s-eye laughs. Mabel (Karen Evans) may sound a bit Minnie Mouse when she’s at a high climax. But we shouldn’t be too snooty about the singing, even if quality is vocally down a notch. Su Pollard’s far from plain Ruth manages her numbers very nicely. 

The ensemble is robust. Gary Wilmot’s ultra-friendly Pirate King, all thumbs with a rapier except when he’s into sword-swallowing, is more relaxed than David Alder’s whiskery, slightly uptight Major General. 

Joshua Dallas’s engaging grinning Fred has a ball, though his slavery to duty is more than a little tongue in cheek. When the Sergeant (Giles Taylor) thinks of strategic withdrawal but realises "It’s too late now", his style evokes Kenneth Williams.There’s nothing plodding about the arresting balletic footwork of constabulary duty in Penzance. 

Tom Sutcliffe

Uno Who

It must strike fear into the heart of any Gilbert & Sullivan traditionalist when a production is billed as someone's "version" of the show. The argument over whether the spirit of the original rather than religious adherence to the plot is allowable runs from Shakespeare to Bennett - and G&S (and the Society - see below!). With that said, this latest version of Pirates is a very good musical in the vein of the recent Anything Goes - but not necessarily a good G&S. 

Even before the show started, it was obvious by the tri-cornered hats and plastic swords bought by harassed parents that this was not going to be traditional G&S. Some rather impressive cannon work at the beginning did offer worries that it was to be all smoke and no substance - but then the pirates arrived. And what an arrival. 

To all those directors and choreographers who have tried to persuade us that chorus reactions make or break a show - I for one apologise. The total concentration and reactions of the chorus proved what a difference it does make for the audience. Another apology to those engaged in the annual argument over whether to use microphones. The show was totally mic'd and from the circle there was no sound from the stage at all which left it a little 'weedy' in parts. Admittedly, they are on tour and possibly wouldn't want to sing unaided for that number of shows but supported stage sound is definitely superior. 

Su Pollard (Ruth) and Gary Wilmot (Pirate King) would probably not have appeared on any director's most wanted G&S soloists list but Gary proved himself the most classical voice in the show with vocal power and tone. Su does have a good singing voice (as anyone else whose mother liked her records back in the Triassic period may admit) but got little chance to show it with Ruth's staccato songs - luckily her diction proved invaluable. "Master Master" was particularly strong with the venom of Fredrick demonstrated by his rather impressive neck vein in a starring role. 

It was also nice to see a Frederick (Joshua Dallas) who actually looked his 21 years! A very good voice but possibly a little too far towards drama school meets Lloyd-Webber and away from the classical strength and precise notes of operetta. His acting was superb - on seeing the sisters in the cave he proved, once again, that there is no such thing as overacting when you're doing G&S. The girls also added a new dimension to "Not one maiden breast" with facial - and sometimes bodily - expressions counteracting their words of innocence personified! And then there was Elvis…. 

A word about Mabel - Karen Evans. An excellent actress, bearing more than a passing resemblance to Una Stubbs, it was a shame that the decision had been taken to weaken her solo pieces by losing the strength of her notes - I'm sure she could hold them, but didn't. I can't imagine the iron rod of Mr. Freeland allowing this sort of tinkering in one of our shows! 

David Alder provided a rather camp Major General and even the encore of his party piece song was a lot slower than usual, however this was redeemed with an overdose of blustering giving a contrast to dainty girls, manly pirates and…um….the policemen. 

It was also strangely rewarding to see the whole cast attempting to skip in a chain around the stage at the end of the first half - and failing - aah, memories. 

The full compliment of policemen had a good balance of voices but it was a real shame that "They come in force" - but with less force in "When a felon's not engaged". Many had been tempted back into the pirates' fold by then and the rollocking lifestyle seemed to have attracted all the basses and left the tenors to fend for themselves. 

I know that a lot of G&S sounds similar but even I noticed that "Sorry Her Lot" shouldn't have appeared in Pirates - artistic license or an urgent costume change for other characters? Cynic - me? 

This sounds disparaging but we're all more critical of shows we know. All in all, this version of Pirates is a stunning musical in its own right. I've seen other 'versions of' shows - notably the new Gondoliers in the West End (reviewed soon!) - but although variations on a theme, they all stuck far closer to the operatic tone of the originals. The slightly panto feel of the audience singalong and chase through the stalls did entertain the youngsters - and some of the adults. When it comes down to it, anything that gets people interested in Gilbert and Sullivan has got to be good for our audiences and our membership - as long as there's a corner of a local land that is forever traditional G&S. 

Darlington Review

Don’t be put off by the words Gilbert and Sullivan. This show is tremendous fun, with lots of cheeky twists and turns. 

Direct from London’s West End, this modernised version of the G&S operetta started life as an outdoor production in Central Park, New York, where it caused a huge sensation. 

Just as Gilbert and Sullivan brought opera to the people in their day, with a few laughs along the way, this Olivier Award-nominated production has been souped-up for mass appeal. And it works beautifully. 

The raucous tale of pirates, policemen, romance and a Modern Major General has been updated to suit a modern audience, but still retains the trademark G&S humour and classic score. 

It’s all swashbuckling high octane fun – with an Elvis impression, a pantomime sing-along, and some Keystone Cops-style slapstick fooling thrown in. 

Gary Wilmot was superb as the Pirate King. He had the audience in his command, drawing laughs with just the raising of an eyebrow and some impromptu asides. And Su Pollard was a delight as comic nursemaid Ruth. 

Great performances too from David Alder as the Major-General and Joshua Dallas as Frederick. And the Major-General’s daughters were simply hilarious. 

You don’t have to be a G&S purist to enjoy the classic score – highlights included Oh, Better Far To Live and Die, When a Felon’s Not Engaged in His Employment, and Poor Wandering One. 

With a spectacular set, lavish costumes and faultless cast, this show will leave you cheering for more. 

The applause from last night’s packed out crowd continued long after the curtain had fallen. A perfect sunshine tonic for a wet February. 

Emma Clayton

The Pirates of Penzance
Bristol Hippodrome
22nd April - 27th April 2002
Starring: Gary Wilmot and Su Pollard 

The Pirates of Penzance opened at the Bristol Hippodrome with an explosion of colour, humour, and energy. 

Staring the highly entertaining Gary Wilmot as the Pirate King and Su Pollard as Ruth, the slick professionalism of the entire production shone through and flowed easily between songs. 

Probably the best known of Gilbert and Sullivan's musicals, this is a raucous tale of pirates, policemen, romance and a modern Major General.

This production by the new Shakespeare Company was revamped by Joe Papp and has been an international success story.

Combining the classic score, songs and lyrics y with material from other Gilbert and Sullivan works it bills itself as "an evening of high octane fun" - and it is.

The choreographed slapstick humour and well known songs drew the attention and participation of the audience. 

Joshua Dallas and Karen Evans as Frederic and Mabel seemed to capture the emotion of the love story, while Giles Taylor was also highly entertaining as the police sergeant. 

Many of the cast showed impressive vocal ability especially Wilmot and Evans, and David Alder (Major General) performed a superb rendition of "I am the very model of a modern Major General". 

Directed by Ian Talbot, the production was full of energy and vibrancy which was only slightly let down by an understated set. 

The pantomime elements and improvisation from Wilmot and Pollard, along with the cast’s obvious enjoyment made this a hugely entertaining evening for all. 

The Stage

This version of the venerated Gilbert and
Sullivan operetta originated through Joe Papp
and New York's Central Park. It was an
immediate success there so, after Broadway,
West End and film productions, it has returned
to a park theatre. 

And on fine nights a magical theatre it is too -
a natural amphitheatre surrounded by trees with the stage shining hypnotically in the dusk. A total delight. 

This souped-up and modernised adaptation, which uses material from the writers' other shows and even an Elvis impression, has been completely re-cast by director Ian Talbot. 

A shaven-headed Gary Wilmot as the Pirate King and Su Pollard playing a man-chasing old maid give the performance a distinct pantomime feel. There is even a song sheet with a split sing-along audience and a hilarious squad of dancing Keystone Cops. 

Since the colourful pirates are all spineless bravado, ever ready to spare orphans, any cops versus buccaneers fighting is of the knockabout variety. 

Aside from Wilmot and Pollard, there are three other stand-out roles. David Alder as a blimpish major-general scores with his contribution, Joshua Dallas does nicely as the reformed pirate turned hero and best of all is Karen Evans as his romantic target. 

Her voice soars higher than the mainmast - clearly a girl with a future. Although relatively unknown, she is a natural lead for musicals. 

Compliments also to Giles Taylor and his gang of feeble cops, the men sailing under the Jolly Roger and the four young ladies in crinoline. 

By James Green 

Bucks Free Press

Ahoy there! Set sail on crazy pirate ship 

The production of the Pirates of Penzance, now on at the Churchill Theatre, is like a young cocker spaniel boisterous, naughty and full of infectious fun. 

Absolutely loveable! When Gary Wilmot bursts onto the stage with his band of tender-hearted pirates and the widest cheeky grin, it's love at first sight. 

The lads are known everywhere for letting all orphans go but have not stopped to noticed that, amazingly, every ship they capture is completely crewed by orphans. Then there is Su Pollard, probably best known for her role in the TV classics, Hi De Hi and You Rang M'Lord. 

The tingle of recognition as she plays yet another woman who always manages to get the plot hopelessly wrong, makes you warm immediately to her character, Ruth. 

The bird-brained Ruth manages to miss-hear her master's instructions and apprentices her young charge, Frederic, as a pirate instead of a pilot. She then further complicates matters by falling hopelessly in love with him. 

And here's a little know fact Su sings rather well as she capably proves in her several solos. Joe Papp's exuberant update of the raucous Gilbert and Sullivan musical about pirates and policemen, romance and a modern Major General guarantees an evening of high-octane fun.

Note the bevy of sex-crazed, thoroughly modern maidens who relish the attentions of the big brawny pirates and swoon en-mass as Frederic changes, mid-song, from a lovelorn young man into the hip grinding Elvis. Then there is the timidly-inclined police sergeant who lapses into the campest of lisps. It's got to be seen to be believed. 

But you'll have to listen very carefully because the witty lyrics occasionally get lost in the mayhem. This is certainly the most satisfying piece of pure entertainment you could possibly want to see, so book your ticket now. 

Daily Info

Based on the hugely successful Broadway revival in the 1980s this touring show of Pirates of Penzance has something to please most of the audience, but in trying to please everyone it does fail in certain areas.

One expects good value entertainment from a show whose leads are TV variety stalwarts Gary Wilmot and Su Pollard and they do not disappoint. Wilmot is a suitably swashbuckling Pirate King, and he works with the audience throughout to great effect. Su Pollard, as the nanny Ruth, took a while to find her feet - or more particularly, the audience took some time to see beyond her television persona and accept her performing a different role. Both dealt well with the G&S lyrics and vocally were very effective. Equally strong was David Alder as the Major General, a very model Major General one might say. The romantic leads fared less well, as both Joshua Dallas (Frederic) and Karen Evans (Mabel) sounded at the limits of their vocal range. This was not helped by the sound quality though, and the over-amplified band which drowned out the lyrics at too many stages throughout the evening.

The production was some what mixed in style, and the combination of D'Oyly Carte, Broadway and - unfortunately - pantomime sat a little uneasily. An attempt to introduce audience participation served only to slow down proceedings, and the panto style in which much of the dialogue was projected seemed out of place. However, the big production numbers were excellent, especially 'With Cat-Like Tread' and 'A Policeman's Lot', and the choreography, under Gillian Gregory, was top notch.

Overall this is a good night out at the theatre. Whether it is a great Gilbert and Sullivan show is open to debate but it certainly entertains from beginning to end and maintains a huge feel-good factor throughout. So, splice the mainbrace, swash your buckles and get along to the Apollo this week.

David Wootten

Financial Times

Open Air Theatre, Regent's Park/touring 
Opened 29 August, 2001

The motorised miniature whale spouting water at the audience has gone, but otherwise Ian Talbot's acclaimed production of The Pirates Of Penzance returns a year on with pretty much the same staging and design, for a couple of weeks at its home venue in Regent's Park before embarking on a national tour into December. 

This is the 1980 centenary revision by Joseph Papp, first seen in his own park venue in New York: the arrangements have been punched up, a number or two interpolated from elsewhere in the Gilbert and Sullivan canon, and Victorian topical satire ditched in favour of tacking across the wind of self-parody. Unlike so many such attempts, though, this version never sets itself above its raw material, remaining affable throughout. Its success may be judged in that even on my relieved return from the wettest, most climatically dismal Edinburgh festival season for years, I was nevertheless perfectly content to sit through the light showers which spat through much of the second act on the press night. 

Inevitably, musicals which cannot muster the visual or financial firepower to stand as blockbusters now generally choose to partake of camp in their production values. Talbot's production and Terry Parsons' set are not exactly cheap and cheerful, but they verge on the cartoon, with gaudy pirates and a kind of Metropolitan Keystone Kops squad sporting helmets, truncheons and spats. Indeed, proceedings get openly pantomimic as the audience is corralled into singing along with Sir William Gilbert's "particularly rapid unintelligible patter". 

The Pirate King is the kind of role at which Gary Wilmot now casually excels, flinging himself into character and gently taking the mick at the same time, as he repeatedly fumbles his fancy rapier-work and the like. Su Pollard seems to be reining herself in as middle-aged former nursemaid Ruth, but still seems over the top, particularly in her second-act pirate costume in which she basically becomes a panto dame in reverse; David Alder is comfortable as the Major-General whose daughters are the target of the matrimonially inclined brigands. Both Joshua Dallas a the conscientious, reluctantly indentured pirate Frederic and Karen Evans as his beloved Mabel, the General's pushiest daughter, give energetic readings, but both (and in particular Evans) inadvertently highlight the ludicrousness of performing this kind of music in a modern stage-musical back-of-the-nose singing voice. 

This is perfect Park fare; I have my suspicions as to whether it might seem more awkwardly contrived in venues such as Glasgow's Theatre Royal or the De Montfort Hall in Leicester, but Talbot's production is gifted at getting even its more reluctant spectators to enjoy themselves. 

Ian Shuttleworth

The Times

"London is awash with musicals these days. Some have wit, some even have tunes, and several have legendary status. But for my money the only one I would want to see a second time was created 120 years ago by Arthur Sullivan and William Schwenck Gilbert - Ian Talbot's joyful production of The Pirates Of Penzance at the Open Air Theatre." 

The Guardian

"This is the souped-up Gilbert and Sullivan standard that wowed Broadway in 1980 and later came into Drury Lane. And even if Ian Talbot's production occassionally overpitches camp, it still works like a dream in Regent's Park and offers more fun than most of London's other musicals put together. Talbot's additions generally add to the sense of gaiety:  we get toy ships spouting cannon fire and water, a pantomime song sheet and even Keystone Kops sporting extremely phallic rubber truncheons."