It’s easy to see why the Gilbert and Sullivan operetta The Pirates of Penzance has enjoyed such a firm following for 145 years. It’s a feel-good confection of silly songs, far-fetched adventures and witty word-plays, all set to some of the catchiest melodies in the opera canon. Even if you’ve never seen the show, you can certainly sing along to ‘I am the Very Model of a Modern Major-General’ and join in on the chorus of ‘A Policeman’s Lot is Not a Happy One’.
This is a further restaging of Mike Leigh’s production of Pirates that has been a success for English National Opera (ENO) over the last 10 years and is a co-production with Les Théâtres de la Ville de Luxembourg and the Saarländische Staatstheater Saarbrücken. The action takes place on a minimal set that is big and bright. The opening sequence is impressive, but as the show progresses it seems that the bold geometric cut-outs are somewhat at odds with the traditional G&S period costuming and rather conventional delivery. Queen Victoria adds a regal touch as she looks down on proceedings in Act II, apparently unamused as always.
The inherently nonsensical storyline of Pirates just begs the performers to embrace the silliness of the script, but still they seem a little subdued here. Bass-baritone John Savournin is perfectly cast as the Pirate King, imbuing the role with the right balance of daring and charm as he struts and swashbuckles across the stage.
The ENO’s Harewood Artist, soprano Isabelle Peters, is delightful as Mabel and is well paired with former Harewood Artist William Morgan as the hapless and gently amusing, Frederic. ENO favourite Richard Suart, vice-president of the Gilbert and Sullivan Society, is well-cast as the ageing Major-General. The ensemble does a creditable job throughout as the daughters, pirates and police, but overall the production just lacks sparkle.
Pirates is sung in English, which makes it a perfect introduction for anyone who is new to opera; even so, there are still helpful surtitles above the stage in case the audience gets a little lost in the storyline. And while the dialogue is clear, the singing sometimes does lack clarity and diction.
The assured direction is by Sarah Tipple, who has been associated with the production since its first season back in 2015, but perhaps she should let the performers play up to the script a little more. And the excellent musicians give a strong performance under the careful baton of British-Australian conductor Natalie Murray Beale in her debut with the ENO. There did seem to be some issues with vocal power and projection at the performance this reviewer attended; this in turn gave the feeling that the orchestra was being pared back for balance.
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The Pirates of Penzance is an unashamedly feel-good operetta that always sends its audience home with a smile. It easily spans the divide between opera and musical theatre with an added dash of panto to cheer on the Christmas season. The show ends with the words “take heart, fair days will shine”, so bravo to that!
The Pirates of Penzance
The London Coliseum
English National Opera with Orchestra and Chorus
Conductor: Natalie Murray Beale
Director: Mike Leigh
Revival Director: Sarah Tipple
Designer: Alison Chitty
Lighting Designer: Paul Pyant
Revival Lighting Designer: Ian Jackson-French
Sound Designers: Sarah Weltman, Dominic Bikey
Original Choreographer: Francesca Jaynes
Assistant Conductor: Murray Hipkin
Chorus Director: Matthew Quinn
Leader: John Mills
Cast: Richard Suart, John Savournin, Henry Neill, William Morgan, James Crewsell, Isabelle Peters, Bethan Langford, Anna Elizabeth Cooper, Ella Kirkpatrick, Gaynor Keeble
The Pirates of Penzance will be performed until 21 February 2025.
Relaxed Performance will be on 30 January 30; Signed Performance on 8 February 2025.https:///
