The Pirates of Penzance by Canberra Philharmonic Society at Erindale Theatre

Reviewer: Peter Wilkins.

Judging by the rapturous applause at the finale of Canberra Philharmonic's upbeat version of The Pirates of Penzance, Kelda McManus' production does justice to the enduring popularity of Arthur Sullivan and W. S. Gilbert's satirical Victorian opera. While retaining the familiar melodies and essential plot of apprentice pirate, Frederic (Marcus Hurley), and his pursuit of the Major-General's fair daughter, Mabel (Maddison Lymn), director McManus with musical director Rhys Madigan, his excellent small orchestra and choreographer Annette Sharpe have transposed the era to the 1950s, jazzed up the orchestration and bopped up the choreography to appeal to a modern audience. It's a decision that works well and lifts the energy of the large cast of bumbling pirates, blustering Bobbies and heart-fluttering maidens. Through the labyrinth of absurdity, the romantic leads steer a steady course of unswerving adulation, charting a shaky course through Frederic's ironic duty to the Pirate King (Shane Horsburgh) and the foolish will of the Major-General (Dave Cannell ).

The plethora of G and S productions that swarmed the schools and amateur musical societies of the 1960s have largely faded from the music theatre scene but the sharply stinging wit and parody of Gilbert's libretto, coupled with Sullivan's eclectic and memorable tunes lend a timeless quality to this wickedly satirical slight at the military, the constabulary, class and the monarchy. Building on Simon Gallagher's updated 1994 version, Philo have introduced contemporary references to the text, most particularly in Cannell's brilliantly performed patter song, I Am the Very Model of a Modern Major-General. Cannell's clowning lampoonery is worth the price of a ticket to this production. There are strong performances also from Kate Tricks as the poor, rejected Ruth, Dave Collins as Samuel, the Pirate King's lieutenant, and Greg Sollis, the sergeant of a very disparate and disorganised troupe of police. Hurley's Frederic commands the stage with an assured presence and he and Lymn strike the right note in their duets, All Is Prepared and Stay, Frederic, stay! Audiences will enjoy the stirring renditions of When a Felon's not Engaged in his Employment, With Cat-like Tread, Upon our Prey we Steal and A Rollicking Band of Pirates we. Lymn's rendition of Poor Wandering One perfectly captures Mabel's purity and compassionate innocence.

There is much to commend Canberra Philharmonic's production of The Pirates of Penzance. Gilbert's wit and satirical intent requires more precise diction from the ensemble and Lymn's sweetly sung soprano voice sacrifices much of the vital text of her songs. Horsburgh's posturing Pirate King cast away breathless words of his songs during the first act and stage business with the large cast on Peter Karmel's revolving set design, though performed with enthusiastic gusto, appears cluttered and lacking clear focus at times. It is up to Sharpe's skilful choreography to correct any uncertainty with an excellent eye for the comical and the absurd. It all comes together in the rousing 1880 and 1994 finales, bringing to a close a performance that is certain to entertain.