Alterations add to the fun in 'The Pirates of Penzance'
Purists of the 19th century comic operettas by playwright W.S. Gilbert and composer Arthur Sullivan probably won't be pleased by the cuts, changed vocal keys and just plain wrong comic bits that have been added to the Marriott Theatre in Lincolnshire's revival of "The Pirates of Penzance." But who really cares?
Gilbert and Sullivan's ever-popular 1879 collaboration started out as a comic burlesque of grand opera and melodramatic theater conventions of its day, so it's very unlikely that you'll see offended "Pirates" purists leaving in a huff over a trimmed duet for Ruth and Frederic, the omission of the women's Act II opening vocals or the wholesale tossing of the original overture.
Plus, there already is a celebrated tradition of presenting "The Pirates of Penzance" in the style of a Broadway musical comedy, stretching back to the Public Theater's wildly successful 1979 New York Central Park staging that originally starred Kevin Kline and Linda Ronstadt (available to see on DVD).
So it's very easy to forgive the many liberties taken by the Marriott Theatre for its relentlessly high-energy and delightfully silly approach to "The Pirates of Penzance." The comic genius of Gilbert's verbose and sly text still shines through, as do Sullivan's fleet and breezy melodies that are memorable more than 130 years on.
You'll be entranced the instant you spy set designer Thomas M. Ryan's ornate hulking pirate ship hull that hovers handsomely over the Marriott stage. And Nancy Missimi's lavish and colorful period costumes are also an eyeful to cherish, especially when they're so flatteringly lit by lighting designer Diane Ferry Williams.
With these deluxe trappings on hand, director Dominic Missimi and choreographer Matt Raftery skillfully guide their clever cast to offer up plenty of zany and fun performances. True, purists may spot their glaring Act II addition of a comic statuary scene to cover a male chorus costume change, but most audiences will just be laughing at all the unbelievable antics.
Kevin Earley makes for a commanding and campy long-locked Pirate King, comically swashbuckling with his clumsy swordplay. Ross Lehman also ranks high up in generating laughs as the dithery Major General whose verbal dexterity is very impressive in his signature patter song.
As the romantic couple of apprentice pirate Frederic and headstrong ward Mabel, Omar Lopez-Cepero and Patricia Noonan respectively make for a lovely to look at and strongly sung pairing (particularly Noonan with her high operatic range).
More strong supporting comic work comes from Alene Robertson's gruff servant Ruth (even if her British accent fades away as the show progresses) and Andy Lupp's very limber Sergeant of Police (too bad his microphone didn't initially work on opening night).
Wags may also dub Marriott's "Pirates" revival as "The Puppets of Penzance," since hand puppets of a kitty, raccoon and a skunk are also incorporated into the show's second act. Never mind that raccoons and skunks aren't native to the show's English Cornwall setting, since this animal incongruity aligns neatly with Monty Python's Flying Circus' famed sketch about colonial hunters pursing a nonnative tiger in Africa. Since Gilbert and Sullivan are clearly precursors to Monty Python in the grand history of great British comedy, all is forgiven when these antics induce so much hearty laughter from the audience.
“The Pirates of Penzance”
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Location: Marriott Theatre, 10 Marriott Drive, Lincolnshire, (847) 634-0200 or
Showtimes: 1 and 8 p.m. Wednesday, 8 p.m. Thursday and Friday, 4:30 and 8 p.m. Saturday, 1 and 5 p.m. Sunday through Sunday, June 10
Running time: About two hours and 15 minutes, with intermission
Tickets: $41-$49 plus tax and handling fees; dinner theater packages available from $55
Parking: Free lot adjacent to the theater
Rating: For general audiences