reviewed at the Theatre Royal, Norwich on 15 September
This autumn’s tour by the National Gilbert & Sullivan Opera Company ends at Norwich’s Theatre Royal. Vivian Coates’ new production of The Pirates of Penzance marries the traditional G&S style of staging with something new. His set designer is Paul Lazell who provides scenery pieces to the left and right of the stage with an illustrated open book as the centrepiece. Janet Morris’ costumes give us crinolines for the girls and vaguely 18th century for the pirate crew.
Sullivan’s score flows briskly throughout; this is an operetta with considerably more music than spoken dialogue. The orchestra under Andrew Nicklin sounded a trifle scratchy in the overture but settled down once the curtain had risen and the audience tendency to sing along had subsided (well, this is a quasi-traditional production after all).
Star of the show was undoubtably Emma Walsh’s Mabel, playing the minx with a sense of her own value and tossing off the coloratura passages with an interpolated tribute to bel canto cabalette which earned knowing chuckles for its subtlety. Her Frederic was Anthony Flaum, not the most subtle of tenors though a convincing actor.
Richard Gauntlett is an audience favourite and is moreover playing on his home turf. The “Model of a very modern major-general” patter song came over well as did this peacetime soldier’s ability to turn most situations to his own advantage. Balancing him was Toby Stafford-Allen’s flamboyant Pirate King, very well sung as well as suggesting why this particular band of sea robbers is so very unsuccessful.
Both the flock of daughters and the pirate crew provided well-detailed character sketches and the white-faced policemen, led by Simon Wilding’s Sergeant, as always all-but brought the house down. Mae Haydorn’s Ruth is refreshingly less of a harridan than as sometimes portrayed and sung with great musicality.
Three and a half-star rating.
The season consludes with matinée and evening performances of HMS Pinafore on 16 September.