One proof of genius is continuing relevance to any age: the infinite possibilities afforded by flexible interpretation apply to just a handful of writers, artists, and composers of whom Gilbert and Sullivan are two.
Sasha Regan’s The Pirates Of Penzance was a case in point. We are accustomed to comically nervous policemen and sherry drinking pirates. But an all-male chorus of Major General’s daughters? A cropped haired, falsetto singing Ruth? In camp comedy undreamt of by Gilbert, corseted chaps swished their skirts around the stage, almost, but not quite, concealing ballet dancing skills, hilariously carrying off every bit of business to the utmost effect.
Brilliant theatrical flourishes depended here upon the musical gifts and comic talents of actor/singers Alan Richardson, Samuel Nunn and Neil Moors as principals with a chorus who found new humour in every line.
Miles Western made an unusually plain speaking Major General and Alex Weatherhill a very droll Mabel. Musical director David Griffiths conducted the a capella Handelian parody. Somehow, he looked out of place: he wasn’t singing, dancing or making us laugh - and he wasn’t an orphan. But he could play the piano.
Gilbert would have loved it.
Five stars
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