SINGING PIRATES AND DANCING COPS

                                                       Those kindly thoughtful pirates

"No, Frederic, it cannot be. I don’t think much of our profession, but, contrasted with respectability, it is comparatively honest." Thus spake The Pirate King to his apprentice Frederic revealing to an ever enthusiastic audience the hypocrisy of the respectable. In the present day, news sources are full of tales about genuine and very scary pirates who attack merchant ships for political causes or for economic benefit. Not so the pirates of Gilbert and Sullivan's masterwork The Pirates of Penzance.

Spoiler Alert! One doesn't find out until the final scene that the pirates are all nobleman gone astray, fine fellows all with a soft spot for orphans, and eligible to wed the numerous wards of Major-General Stanley, whose patter song "I am a Model of a Modern Major-General" is a model of clever rhymes that tickle the ear. W. S. Gilbert was a whiz of a wordsmith indeed.

The beloved Savoyards skewered British social customs and legal systems to the delight of their Victorian audience and continue to delight modern audiences, even though there are words that are somewhat unfamiliar. We read the libretto in advance and were obliged to look up such words as "costermonger" and such terms as "a Ward in Chancery" but one can enjoy the story, the tunes, and the sound of the rhymes and rhythms even if one does not understand every word.

Still, there are a plethora of couplets that one can appreciate such as our favorite: "You shall quickly be parsonified, Conjugally matrimonified, By a doctor of divinity, Who resides in this vicinity". That Arthur Sullivan's melodies amplify Gilbert's wordsmithery does not make it a periphery, but it does make us so dithery.  Oh dear!  Their wit is contagious and a bit outrageous. (No more, we promise!)

Although we have been fortunate enough to have seen the D'Oyly Carte Opera Company when they toured the United States some time ago, we prefer the performances of New York Gilbert and Sullivan Players who always deliver a performance that is dramatically valid and musically rewarding. We've never been disappointed by the artists who seem to enjoy being onstage as much as we enjoy being in the audience.

2025 marks their 50th season and last night we were thrilled to be in the audience for opening night of The Pirates of Penzance. Directed by Albert Bergeret, the performance was full of wit and over-the- top shenanigans. We would hate to spoil it for you! David Auxier's  witty choreography added greatly to the fun and, in a highly amusing modernizing twist, employed some choreography suggestive of Bob Fosse with appropriate use of headgear. 

Joseph Rubin's conducting made every sparkling tune come to life and the melodies are still ringing in our ears. Even the lighting by Benjamin Weill added to the fun; in a clever bit, the  Sergeant of Police, played by the loose limbed Mr. Auxier himself, interacted with the person handling the spotlight, motioning for it to be directed towards himself. This was only one of several inventive and amusing moments.

But we are talking about musical theater (operetta?) so let us concern ourselves with the voices. Regrettably amplified (my companion and I both found the sound a bit muddy at times with some artists sounding clearer than others), it is difficult to evaluate vocal quality with the exception of that of soprano Claire Leyden. Her coloratura was crisply and musically rendered, with Sullivan's writing sending up Lucia's mad scene from Donizetti's Lucia de Lamermoor. 

The acting was superb all around with Alex Corson portraying the innocent Frederic about to "graduate" from his apprenticeship with a pirate band, due to the disarticulation of the word "pilot".  He has never seen a woman except for his nursemaid Ruth who would like to marry him. These days, everyone is butt-hurt about something or other and protests abound from those experiencing racism in the theater. As a middle-aged woman, we personally object to the ageism in this work, since Ruth is discarded as being too old for Frederic! We are laughing up our sleeve since we wouldn't change a word of this delightful piece.

The loyal Ruth was wonderfully performed by Angela Christine Smith. The aforementioned Ms. Leyden was charming as Mabel, the only one of Major-General Stanley's passel of wards willing to show interest and affection for the "Poor Wand'ring One" whose profession as a pirate was deemed unacceptable for respectable young ladies. 

The role of Major-General Stanley was taken by James Mills who dazzled us with his rapid-fire patter song "I am the very model of a modern Major-General" in which he pretended to be groping for Gilbert's clever rhymes.

Matthew Wages made a marvelous Pirate King and convinced us that "it is indeed a glorious thing to be a Pirate King"! As his Lieutenant Samuel, Adam Hirama Wells had just the right spirit.

Three of Stanley's wards were named in the program -- Hannah Holmes, Alexandra Imbrosci-Viera, and Laura Sudduth but there was no way to tell which artist played which girl.. Well, one of them performed some lovely ballet moves.

We will repeat how excellent was the direction and staging. Among the  numerous sight gags we particularly enjoyed the one in which the gaggle of girls created a train with twirling parasols as wheels. Their beautiful and most apropos costumes were created by Quinto Ott and Gail Wofford, whose artistry most radical made sense of  costuming piratical (Oh, stop us before we begin speaking like Gilbert!)

We cannot keep from mentioning how successful this company is at attracting audiences without directorial co-opting. We are in Victorian England where duty is a major value as is love of The Queen. Thanks for honoring the time and place without attempts to make the work "relevant".

By the end of the performance, our face was sore from smiling. Dear Reader, next weekend offers more opportunities to enjoy this experience and you should make sure that you do!

This review was NOT written by AI. We take full responsibility for it, errors and all.

©meche kroop

 

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FEEL THE KERN

Jerry Steichen at the piano with singers Adam Cannedy, Alex Corson, Claire Kuttler, Richard Holmes, Emma Grimsley, Bryan Elsesser, Natalie Ballenger, and Rachael Braunstein

Perhaps you have enjoyed listening to the Jerome Kern song "Look For the Silver Lining". Perhaps you even knew that it came from his 1920 show Sally. We did not know this yesterday, but now we do, thanks to a charming production of the show by Light Opera of New York. known as LOONY.

We don't wish to put too fine a point on the differences between American musical comedy, operetta, and opera. They are all art forms using singing to tell a story. This story, with book by Guy Bolton, is a sweet one, analogous to the Cinderella tale. 

A spunky girl from a settlement house is put to work as a dishwasher in a restaurant. Of course, she wants to be a star. Of course, the Russian star doesn't show up and she must impersonate her.  Of course, she is madly successful.  Of course, a wealthy young man falls for her.  Of course, there is a misunderstanding.  Of course, there is a reconciliation and a happy ending. Of course, the audience leaves smiling and happy.

The main thing is the music.  From the jaunty overture to the finale, we are swept along by a virtual tide of tunes, sung by a talented cast that is gloriously unamplified. In the lead role of Sally herself, we heard the winsome Emma Grimsley with her scintillating soprano and the dramatic chops to convince us--both as the spunky girl she really is and the Russian star she is impersonating. Her solo "Wild Rose", contrasting her personality with that of the  PRIMrose, was darling.

Tenor Alex Corson has a pleasing voice that sings out "Irish tenor". If he isn't Irish we will eat our words! He was utterly convincing as the rich fella who falls in love with the dishwasher AND the Russian star. Their duet "Whip-poor-Will" was lovely and sweet.

Otis, the agent who gets her the contract, was played by the fine Adam Cannedy whose newfound wealth from the contract will allow him to marry his heavily Brooklyn-accented sweetheart Rosie, humorously portrayed by Claire Kuttler. Their duet, "The Church 'Round the Corner" was pure delight.

The restaurant where Sally washes dishes is owned by Pops, played by the veteran Richard Holmes, and the waiter Connie by a very funny Bryan Elsesser. Of course, he is really a deposed Duke from some Mitteleuropean country called Czechokovinia! His star turn in "The Schnitza-Kommiski" kept us in stitches.

Also on hand was the snotty (of course!) aristocratic Mrs. Ten Bruck, played by Rachael Braunstein with a marvelous sneer, and her daughter Marsha, played by Natalie Ballenger.  Where would theater be without clichés???

The lyrics by Clifford Grey (with the exception of "Look for the Silver Lining",the lyrics of which were written by B..G. DeSylva) were short and punchy with lots of obvious rhymes like "title and vital", "shady and lady", "altar and halter", "lucky and plucky", and "seraphic and traffic".  Where would American music be without obvious rhymes???

This is not meant to disparage the writing.  It is just the kind of rhyming that the English language is meant for and is enormously satisfying to the ear, just like a 4-5-1 cadence. The reduction of the libretto was accomplished by John Ostendorf.

We were most gratified that the diction was perfect.  We missed not a single word. That skill with diction on top of the superb voices had us falling madly in love with the cast.

The excellent Music Director Jerry Steichen not only shone in his playing of the reduced score, but also narrated the omitted parts of the story from the piano. He is an engaging presence. One interesting tidbit is that Mr. Kern was not trusted to write the music for the big "Butterfly Ballet" number; that task was given to Victor Herbert!

Stage Direction was by Gary Slavin and it worked well without any set to speak of. No one is credited for the costumes and hairstyles but there was a definite 1920 look to the piece. The venue was 80 St. Marks Place Theater which appears to be of the same vintage and boasts excellent sightlines and good acoustics.

There is one more performance tonight and it would be a fine Saturday night to spend with a great group of singers/actors.  Feel the Kern!

(c) meche kroop