To say I never stopped smiling throughout Roundabout Theatre Company’s Pirates! The Penzance Musical is not an over-statement or hyperbole. The show is just that much fun. The cast is clearly having fun, and that fun is infectious. I realize that standing ovations have become somewhat de rigueur, but this one was enthusiastic and well earned by everyone from the leads to the chorus to the orchestra.
I have always thought David Hyde Pierce’s comedic timing was impeccable, and I was not disappointed with this first time seeing him on stage. As both William S. Gilbert (during a pre-curtain speech) and as Major-General Stanley, his vocal inflections, facial expressions, and body language are always on point and never overdone in even the post slapstick moments. He is a total joy in the role even when winkingly acknowledging to the audience how ridiculous most of the plot is. And his “I Am The Very Model of a Modern Major-General” is truly show-stopping.
He is joined in the pre-curtain speech by Preston Truman Boyd as composer Arthur Sullivan (Boyd also plays the Sergeant of Police later in the show and has a crowd-favorite number). The patter between Gilbert and Sullivan, explaining the re-setting of the show to take place in New Orleans and making pointed commentary about copyright infringement, is perfect (illustrated best by Sullivan listing the cities the tour has played in prior to New Orleans, and Gilbert offering color commentary, starting with New York (Gilbert: a rhapsodic “Ah, New York!”) and ending with Philadelphia (Gilbert: an equally rhapsodic “Ah, New York!”).
Ramin Karimloo’ Pirate King Santiago du Bouchard (“late of the West Indies”) is every bit as swaggery and sexy as one would expect (said expectation on my part based solely on video clips, as this was also my first time seeing him on stage), from the moment he swashbuckles in on the prow of his ship with the bawdy, rousing “I Am The Pirate King” (which is NOT sung to the tune of “I, Jack, The Pumpkin King” from The Nightmare Before Christmas, despite seeming like it would scan perfectly onto that melody…) Throughout the show, characters come and go through the audience, and from my fourth row orchestra aisle seat I was close to Karimloo several times. His arms and chest are all that. (I am not usually one to include detailed male-gaze-y commentary in my reviews, but as those arm and chest muscles are a big part of the character it feels appropriate here.)
I was not sure what to expect of Jinxx Monsoon as Ruth, having only seen her as Maestro in Doctor Who and in short video clips from this show and from Chicago and Little Shop of Horrors. I will absolutely see anything else she is in (and in fact, will be looking to get tickets to Oh, Mary! When she joins the cast.) Her comedic timing is on spot and her singing (the heartbreaking “Alive and Yet Alone”) is powerhouse Diva-designation worthy.
Nicholas Barasch as Frederic and Samantha Wiliams as Mabel have great chemistry and great fun poking fun at their characters’ “insta-love.” Both have wonderful voices (Barasch’s high notes are impressive; Williams’ swings from pure ingenue to sexy Eartha Kitt growl seamless) and effortless dance skills.
I also have to give a shout out to the Ensemble playing the Pirates and the Stanley Daughters: every one of them had some identifiable character trait that enabled them to be individuals within the ensemble (not always an easy thing to do, not always something directors desire). I particularly noticed the slack-slouch (and often slack-jawed) of Tommy Gedrich (I had a hard time keeping my eyes off of him during the ensemble numbers), the arch facial expressions of Cicely Daniels, the coquettish physicality of Bronwyn Tarborton, and the “would-be second-in-command” attitude of Rick Faugno (who also had perhaps the most powerful voice of all the pirates).
Scott Ellis’ concept for this production and direction make pretty much every moment of it enjoyable, as I mentioned at the top of the review, with more than one show-stopping moment and enough self-awareness to admit this show has a very very flimsy plot without playing it too “meta.” David Rockwell’s set design evoking both the port of New Orleans and the graveyard of a remote estate is colorful and full of fun details. Linda Cho’s costume design combines classic Gilbert & Sullivan aesthetic with the vibrant colors of New Orleans, both beautiful and full of character. So is Donald Holder’s lighting design. Rich Sordelet and Christian Kelley-Sordelet’s fight choreography is thrilling and Warren Carlyle’s choreography makes the group numbers pop (in particular, the group choreography behind David Hyde Pierce on “Major General” and the act two number “Daughters With Cat-Like Tread,” which was a huge showstopper, with a full minute-plus of applause, which gave Karimloo, Barasch, Monsoon, and the Pirates time to catch their breath, which they surely needed. What a number!)
I know there’s a lot of controversy about the book for the show (and some lyrics) being rewritten by Rupert Holmes and some songs being imported from other G&S operettas, most notably in the act one ender “The ‘Sail The Ocean’ Blues” as seen on the Tony Awards. I found the additions (two songs from Iolanthe, two from HMS Pinafore, one from The Mikado) to all fit seamlessly with the story, enhancing characterization and the plot.
Pirates! The Penzance Musical is at Roundabout Theatre’s Todd Haimes Theatre through this Sunday, July 27th. I have no idea if tickets for the final few performances are still available but if they are – go see it!
I’ve always loved live theater, and in the past couple of years I’ve been making a stronger effort to see more of it. Theater Thursday is my occasional series where I talk about live theater, both shows I’ve seen recently and shows I’ve loved in the past.