What a cast! What a score! What a production! What am I talking about? Lloyd Webber’s latest hit? A flashy new Broadway import? No, I’m talking about a sixteen-year-old production of a show that first premiered in London over one hundred and forty-four years ago at the now-defunct Opera Comique on April 3rd, 1880.
That original production, featuring a score with a hit rate that most contemporary writing teams would envy, ran for over 360 performances – a remarkable feat in its time, even for Gilbert and Sullivan. Yes, the show I’m referring to is The Pirates of Penzance, their enduring comic masterpiece.
The version I saw, which opened at the long-gone (and much-missed) Union Theatre in Waterloo in July 2009, took a bold and brilliant approach: it was cast entirely with men. But these weren’t men playing women; they were men who, though acting the roles of women, were still clearly and recognizably men. The idea, a stroke of genius by director Sasha Regan, was simple yet profound. By casting men in women’s roles, singing and acting as women, audiences would perceive them as women, much like how, in Avenue Q, you stop noticing the puppeteers and begin to accept the puppets as living characters.
Now, many years on, the production has evolved, with new casts taking on these roles – some of whom weren’t even born when the show first opened. It’s a fascinating exercise to look through the programme and trace the journey of the seven complete casts that have graced this production over the years. For me, it’s been fun to spot familiar faces among the performers – talented actors I’ve seen time and again in theatres over the last decade and a half.
But let’s talk about the show itself. The plot, while brilliantly simple, is better left to Wikipedia (or wherever you prefer to look it up). It’s the performances that truly elevate this production to something special. Even on the cold, grey Monday night when I was fortunate enough to attend, the cast brought such warmth and brilliance that the entire production soared far beyond the merely adequate.
So, congratulations to Cameron McAllister as Frederic, around whom the plot pivots. His portrayal is endearingly naïve and innocent, perfectly capturing the character’s wide-eyed confusion when confronted with the world of women.
Luke Garner-Greene as Mabel is nothing short of sensational. Stunningly feminine – tattoos aside – his performance in his professional stage debut is a triumph. It would have been an impressive debut on its own, but even more so when we consider that…
Tom Newland is also making his professional debut as the Pirate King. And what a Pirate King! I don’t think I’ve ever seen such a charming, charismatic, and secure debut in this role. He is a name to watch in the future.
Robert Wilkes, as the older Ruth, and David McKechnie, as the Major-General, bring a depth of pathos to their roles, adding layers to characters that are often played for mere comedic effect. And as for the Major-General’s daughters, I couldn’t take my eyes off Kiran Kaanan as Edith. She swashbuckles with the best of them as a pirate, but when dressed in a long white gown, she channels something of the grandeur of Hannah Waddingham.
Though the entire cast shines, I must single out Luke Garner-Greene’s performance of Mabel’s Act Two aria, “Ah, leave me not to pine.” It brought tears to my eyes. I’ve never heard it sung with such emotion and technical perfection – simply exquisite.
Some purists balk at updating Gilbert and Sullivan. I disagree. As with any great work of art, it must be interpreted in the best way possible for the times. If Gilbert himself had been sitting at the back of the auditorium on Monday night, I’m sure he would have been thinking, “I wish I’d thought of that.”
Director: Sasha Regan
Book & Lyrics: Sir W.S Gilbert
Music: Sir Arthur Sullivan
Cast includes: Cameron McAllister, Luke Garner-Greene, Tom Newland, Robert Wilkes, David McKechnie, Lewis Kennedy, Kiran Kaanan, Thomas Griffiths, Thomas Alsop, Joe Henry, Aaron Dean, and Chorus
Until: 23rd November 2024
Running time: 2 hours, 5 minutes, inc 1 x 20-minute interval
Photos by Mark Senior