Cambridge Arts Theatre, Cambridge until Saturday 19th October 2024
Reviewed by Steph Lott
5*****
On October 14, 2024, the Cambridge Arts Theatre played host to a delightful and unconventional production of WS Gilbert and Arthur Sullivan’s operetta, “The Pirates of Penzance” This all-male rendition, directed by Sasha Regan offered a fresh perspective on the timeless tale of duty, love, and, of course, piracy!
I will state from the off that I am not at all expert in Gilbert and Sullivan’s operas, so please forgive any amateurish errors! However, I will say that the whole piece from start to finish was wonderfully entertaining. From the moment the curtain rose, the all-male cast tackled both male and female roles with gusto, showcasing not only their impressive vocal ranges but also their ability to inhabit characters across the gender spectrum. This unique approach added an extra layer of comedy and intrigue to WS Gilbert’s fabulously witty libretto and Arthur Sullivan’s pretty melodies and harmonies.
Cameron McAllister perfectly captured Frederic, the pirate apprentice torn between duty and desire, with a charming naive earnest portrayal.
In a true tour de force performance, Luke Garner-Greene took on the role of Mabel, one of the Major-General’s daughter. Garner-Greene’s ability to sing this soprano role seemed astonishing to me. He hit the stratospheric notes of “Poor Wandering One” with apparent ease. His ability to switch between his natural register and a convincing soprano was a testament to his vocal prowess and versatility. I was astonished to find this was his professional stage debut!
David McKechnie brought down the house as Major-General Stanley. His rapid-fire delivery of the iconic patter song “I Am the Very Model of a Modern Major-General” was a highlight of the evening, with every syllable crisp and clear. McKechnie’s comedic timing was impeccable, drawing plenty of laughs from the audience.
As the Pirate King, Tom Newland exuded charisma and bravado. His rich voice filled the theatre and his swaggering presence commanded attention in every scene. Newland found the perfect balance, embodying the lovable rogue at the heart of the character.
The ensemble deserves special mention for their extraordinary talent and versatility. The gentlemen of the chorus seamlessly transitioned between gruff pirates and demure maidens, their voices blending beautifully in the complex harmonies. The vocal range required to cover both male and female parts was truly impressive, and the cast rose to the challenge admirably.
Lizzi Gee’s choreography was a joy to behold, infusing the production with energy and wit. The dance numbers were executed with precision and flair. The juxtaposition of burly pirates attempting to move stealthily created moments of pure comedic gold and I particularly enjoyed the moustachioed policemen!
The costumes, with Josh Bamling as associate designer, struck a clever balance between period authenticity and theatrical whimsy. The pirates’ attire was appropriately swashbuckling, while the “female” characters’ costumes managed to suggest femininity without resorting to caricature. This nuanced approach to costuming enhanced the production’s playful exploration of gender roles.
All these elements together wove into a cohesive and thoroughly entertaining whole. Regan’s vision respects the source material while finding new ways to surprise and delight the audience. The pacing was spot-on, allowing moments of tenderness and reflection to shine amidst the comedic chaos.
In conclusion, this production of “The Pirates of Penzance” at the Cambridge Arts Theatre was a triumph of creativity and talent. The all-male cast brought a unique energy to Gilbert and Sullivan’s classic, their vocal performances were consistently strong, and the production values were top-notch. For both newcomers to the world of operetta and die-hard G&S fans, this swashbuckling spectacle offered a fresh and thoroughly enjoyable evening of theatre