The Pirates of Penzance
WS Gilbert and Arthur Sullivan
Directed by Donna Stirrup
Conducted by Martin Handley
Pirates (Penzance) Ltd in association with Tarantara Productions Ltd
Chichester Festival Theatre
Star rating 4
It’s a real pleasure to see a G&S production in which both the director and the conductor trust the material and allow it to shine in its own way. Stirrup has moved the scene forward 40 years so that we’ve in 1919 which adds some nuances. Otherwise this is a delightfully “faithful” take on Pirates, a very old friend to me and, I’m sure, to many of the Chichester audience. Yes there were many walking sticks and silver heads but there were also quite a few children in the audience at the performance I saw. As someone who was taken to her first G&S show at age 5 and fell in love with it for life, there and then, I’m always thrilled to see children embarking, I hope, on the same journey.
The first pleasure is the orchestra. Seated on a raised platform behind the action on CFT’s thrust stage, under conductor Martin Handley, they play Sullivan’s tuneful score beautifully. The sound is always well balanced with the singing, possibly because the musicians are upstage rather than in a pit. Many directors these days feel obliged to bolt fussy, unecessary action on to the overture but Donna Stirrup allows us to listen – really listen – to it in the stillness it deserves. I liked Handley’s nippy tempos too. And it’s a splendid idea to bring every player to the front at curtain call. I’d like to see more of that wherever it’s possible.
The only visual extra during the overture is an enigmatic figure sat in the shadows contemplatively smoking. This was Sioned Taylor as Ruth who, once emerged and involved in the action, sings with rich warmth and looks like Helena Bonham-Carter playing Queen Mary – wonderful feathered hat in the second act. It is one of Laura Jane Stanfield’s many delightful costumes.
This production is staged on a raked dais in the middle of the space. It’s made of planks and surrounded by posts so that it works both as a ship and as the beach with breakwaters or the ruined abbey in the second act. Because it’s half a metre or so off the ground, characters can leap or crawl on and off it and it provides a hiding place for various people at times when the action needs it. It’s simple but ingenious. The set is also by Stanfield.
A small chorus – just two or three to each part – means that every note, harmony and word are clear and there’s some very convincing action. The pirates (presumably World War One leftovers and misfits) are a motley crew of individuals with Jonathan Eyers as a magnificent pirate king, very tall and looking like the mafia in brown suit, dark glasses and trilby hat.
The women are, for once, plausible as the Major General’s daughters because with Mabel (Ellie Laughharne – excellent) there are only six of them – in their gingham frocks and cardies, keen to get their stockings off and paddle.
In a production full of strengths, Guy Elliot, with his fine tenor voice, brings Frederic to life and Benjamin Bevan runs to good effect with that gift of a part: the Sergeant of Police.
Barry Clark is very funny at the Major General but a few of the words in his famous big number “I am a very model …”were lost from Row F – and bear in mind I already know every word. It would be better, perhaps, if he and Handley were to negotiate a very slightly slower tempo.
This production is touring to Eastbourne (15-18 January) and Cheltenham (28 January to 01 February).
