Gilbert and Sullivan’s The Pirates of Penzance has been visited by the SA Light Opera Society 3 times previously – and is for good reason – it is a staple of light opera, beloved for its wordplay and catchy melodies that have captured audiences for nearly a century and a half. In this latest production, directed by Bronwyn Calvett with Musical Direction by Helen Loveday, the familiar tale of love, loyalty, and pirates unfolds with spirited energy and a genuine sense of fun. The evening delivered a charming and confident staging that reminded audiences exactly why Pirates endures.
The story follows young Frederic who having been mistakenly apprenticed to a band of soft-hearted pirates, celebrates his 21st birthday and looks forward to leaving behind his life at sea. His plans are derailed when he falls in love with Mabel, the spirited daughter of Major-General Stanley However, Frederic soon discovers that, due to a technicality – he was born on February 29 – he remains bound to the Pirate King and his crew til 2060. What ensues is a playful clash between pirates, policemen, and propriety, full of rapid-fire lyrics, and is gleefully theatrical.
Calvett’s direction honours the traditional rhythms of Pirates while maintaining a lively pace, a sense of humour and clear character work that keeps the story buoyant. The production leans on simplicity in its staging, with a single set in Act 1, and another single set in Act 2. As a result, the performance feels comfortably familiar yet seldom stale.
At the helm, Wade Shiell is simply, the Pirate King, commanding the stage with warmth, theatrical bravado, and a sprinkle of swagger. His relationship with Andrew McKinnon’s Frederic forms the show’s moral and comic core. McKinnon sings with clarity and sincerity throughout, reminding me of David Hobson’s performance in moments. Chany Hoffmann’s Mabel combines vocal stardom with a mix of sensibility and playfulness. Her soprano floats through Sullivan’s melodies with ease.
Undertaking an already difficult musical number that audiences await with bated breath, Brendan Watts brings clever comic timing and articulation to Modern Major-General, as Major-General Stanley. Marie Geraghty’s Ruth begins with a benign warmth, but upon being rejected one too many times, becomes one of the pirates, and is able to really get into the feel of the game.
Emily Rawling (Edith), Vanessa Felkai (Kate), and Tegan Muller (Isabel) bring phenomenal wit and cohesion to the trio of sisters. Their character choices and reactions are a joy to watch throughout! John Wilson as the bumbling Sergeant of Police delivers the comedic side of the second act with his officers, earning the appreciation through his physicality and a well-honed sense of rhythm.
Loveday’s musical direction ensures the familiar score is bright and well-paced, though the opening half of Act 2 was briefly marred by some sound balancing issues that muddled ensemble vocals with the orchestra levels. These minor technical lapses dissipated, and by the Act’s conclusion, the momentum had returned in full force.
A particular highlight of the production is its 21-strong ensemble. Their choral sound is well-blended, while their movement across the stage feels both disciplined and spontaneous, creating an atmosphere of chaos that suits the piece perfectly. In group number, “With Cat-like Tread,” the ensemble’s enthusiastic engagement elevates the spectacle and reinforces the sense of community spirit that makes Pirates so enduringly enjoyable.
Overall, this Pirates of Penzance offers what every good night of Gilbert and Sullivan should – laughter, melody, and a healthy dose of nonsense. It may not break new ground, but it sails confidently on familiar waters, buoyed by some great performances, simplistic direction, and a company clearly delighting in the ride. Audiences left humming, smiling, and grateful for an evening of classic comic opera well told.
