The Pirates of Penzance

From left, Charlie Baad, Anthony Tavianini and Lisa Derthick perform in Light Opera Theatre of
Sacramento's production of “The Pirates of Penzance,”
running through Sunday, Oct. 23. Chris Baad/Courtesy photo

 Anyone who has attended the Citizens Who Care winter concerts may recognize Lisa Derthick, who has performed in them for several years, in the current production of “The Pirates of Penzance” at Light Opera Theatre of Sacramento. She plays Ruth, the nursemaid whose misunderstanding of her master’s request got her young charge Frederic (Anthony Tavianini) apprenticed to a pirate instead of a pilot.

This is a sparkling production, directed by Robert Vann, with an orchestra under the direction of Troy Turpen keeping a sprightly tempo that keeps the show moving at all times.

Though the sets are modest, the talent definitely is not. From the robust men’s chorus (unusual in a community theater) to the delightful women’s chorus (Rhonda L. Thomas also has performed in Citizens Who Care concerts). They skip onto the stage twirling pastel umbrellas and doing intricate choreography and never once got tangled up.

The first act finale, “Hail Poetry,” sung a cappella by the entire cast, sent a chill down the spine.
As Major General Stanley, Mike Baad (a Light Opera Theatre of Sacramento producer) displays the talent he has honed for more than 60 years of playing Gilbert & Sullivan patter roles, many with the Davis Comic Opera Company in the 1970s. Baad’s Major General is full of bluff and bluster and he sings his signature “Modern Major General” at a fast clip, and then the last verse in double time with crystal-clear diction.

Charlie Baad is the robust Pirate King, usually everyone’s favorite, the situation in this production as well. He was undeniably in charge of things, alternately stern and soft.

Derthick’s Ruth was a demure, middle-aged woman in Act 1 and by Act 2 was a brazen hussy resplendent in her leather pants, tight bodice and fly-away frizzy hair. The trio performance of “Away, away! My heart’s on fire!” with the Pirate King and Frederick was excellent.

Carley Neill’s Mabel was glorious, with a strong voice that fills the theater. Her interaction with Frederic was tender and loving.

Tavianini was a tall and stately Frederic, an innocent finally out of his indentures and able to take his revenge on the pirates who have been his “brothers” for most of his life, but whose profession he abhors.

The character of Samuel, second in command to the Pirate King, is usually an also-ran in most productions, but Kevin Branson makes the role his own and there is no ignoring him.

The only “off” part of this production was the addition of the character of the governess (Meredyth Rosenberg), who served no real purpose on the stage and stuck out like a sore thumb most of the time. If nothing else, she added to the richness of the chorus, but her dark costume clashed with the pastels of the girls and it just didn’t work.

This is an engaging production that belies its modest setting. It is sure to delight the most discerning of Gilbert & Sullivan aficionados.

Pirates of Penzance

Photo by Barry Wisdom

Saving the best for last, the Sacramento Theater Company closed out its current season with a sparkling new production of Gilbert & Sullivan’s “The Pirates of Penzance,” directed by Michael Laun and choreographed by Ryan Blanning, with musical direction by Samuel Clein.

I was somewhat concerned, checking the program and seeing that there did not appear to be a women’s chorus, other than the principal women and how were they going to get both a band of pirates and a bunch of policemen with only five non-principal men?

Silly me.  This show is so tightly directed and so exquisitely choreographed that the small cast was more than adequate.  The whole show moved with the precision of the Rockettes. Every move was sharp and crisp with wonderful little bits added, such as the Pirate King’s interaction with the small band, and in one spot the spectators, in unison, following an exchange between two characters with the head turns of an audience at a tennis match.

It was a dream cast.  Michael RJ Campbell was outstanding as the Pirate King, with eyes that flashed, and body language that left no doubt whatsoever that he was In Charge of things. 

Gary S. Martinez was beautifully befuddled as Major General Stanley, plagued with agony over his lie to the Pirate King to save his daughters from being carried off to the nearest Doctor of Divinity to be married.  Stanley’s “Modern Major General” may be the most famous of Gilbert & Sullivan’s patter songs and Martinez delivered it flawlessly, with impeccable diction.  And just when you are left breathless at the speed with which he spews out these lines, he speeds it up.

Zak Edwards is making his STC debut in one of his dream roles, Frederic, the apprentice pirate celebrating his 21st birthday and finally out of his indentures and able to live a blameless life.  And he is a dream in the role, with a full steady tenor and wonderful actor to boot.

Aviva Pressman is likewise making her STC debut in the role of Mabel, who captures Frederic’s heart.  Whether not so coyly enticing Frederic or militantly leading the band of policemen to attack the pirates, she is a powerhouse.

Ruth, the piratical maid of all work, is deliciously portrayed by Martha Omiyo Kight.  She is the only female face young Frederic has seen in his life and tries to convince him that she has won her way into his boyish heart (though, as she was his nursemaid when he was a baby, this has always struck me as somewhat creepy!)

The second act trio of Ruth, Frederic, and the Pirate King was great fun and, as did Joseph Papp in his modernized version of this operetta, STC opted to include the “Matter Matter” trio from “Ruddygore,” in addition to the song “Paradox” because it just fits so well.

Mabel’s sisters, Edith (Miranda D. Lawson), Kate (Katherine Cooper) and Isabel (Abbey Williams Cambell) were fun, but it is the youngest, Lucy (Courtney Shannon) who stands out by blending in so beautifully that you just want to watch her the whole time.  This role is double cast and Shannon will share the role with Meghan Greene.

Jeffrey Lloyd Heatherly is the Sergeant of Police, big and blustery and not at all enthused about going off “to glory and the grave.”

I must also give kudos to whichever of the scenic designers (Jarrod Bodensteiner, Renne Degarmo or Brian Watson) was responsible for the ever changing (but very subtly) sky.

If I have any criticism at all, and it is a very slight one, it is that I wonder if body mics were necessary.  Everyone had a big voice that easily filled the small theater, one mic malfunctioned all night long and a couple of other performers had such strong voices that the amplification was almost overpowering.

On the whole, however, this is just a superlative production.  I’ve been following Gilbert & Sullivan around the world for some 50 years and I think this ranks up there as one of the best productions of “Pirates of Penzance” that I have seen.

The Pirates of Penzance

When Joseph Papp mounted a modernized “Pirates of Penzance” in Central Park in New York in 1980, to commemorate the centenary of the Gilbert & Sullivan operetta (the only one of the G&S operettas to premiere in New York), there was, to put it mildly, mixed reaction.  The “Papp Pirates,” as it came to be known, featured Linda Ronstadt and Kevin Kline.  It became the toast of Broadway that year, and won the Tony for best revival.  Suddenly everyone was talking about Gilbert & Sullivan again and the production moved to the screen, in the movie which was made in 1982.

However, there was lots of grumbling among Gilbert & Sullivan purists who objected to the new synthesizer-based orchestrations, interpolated lyrics, and liberties with dialogue.  Still, there is no denying that Papp breathed new life into the Gilbert & Sullivan chestnut and introduced a whole new audience not only to that specific work, but to the whole G&S canon.

I like to think Gilbert & Sullivan themselves might have approved.  After all, they wrote for a contemporary audience and their jokes were pertinent to the period.  Papp just brought the 1879 operetta up to date.

Judging by the standing ovation following Tuesday night’s opening of “Pirates of Penzance” at Music Circus, directed by Glenn Casale, Papp’s version is still finding enthusiastic audiences 20 years later.

This production is full of energy and moves at a frenetic pace.  From the opening sounds of thunder to the lusty chorus of pirates pouring the pirate sherry, it is obvious that this is not your grandmother’s Gilbert & Sullivan.

Frederick (David Burnham) has turned 21 and at his birthday celebration, he informs his pirate brothers that now that he is out of his indentures, he plans to give up the piratical life and devote himself to the extermination of those with whom he lived for the past 13 years.

Burnham’s Frederick has rock star quality.  He gets as much as he can out of his sex appeal.  When he later sings “Oh is there not one maiden here?” to the young girls he has surprised frolicking on the beach, the song comes complete with pelvic thrusts that leave the girls limp and fanning themselves frantically.

Music Circus veteran Paul Schoeffler is the swashbuckling Pirate King, who is at the same time a commanding presence and a bumbler, constantly nicking himself on his sword and stumbling over words.  Schoeffler gives a memorable performance.

Frederick’s nursemaid, Ruth, who misunderstood her instructions and apprenticed the young boy to a pirate instead of to a pilot, is capably played by Mary Gutzi.  The role gives her an opportunity to display both her vocal and comedic talents more fully than she was able to as the Wicked Witch in this season’s earlier “Wizard of Oz.”

Kimilee Bryant is Mabel, the girl who gives Frederick her heart.  Bryant has extensive Gilbert & Sullivan experience with the New York Gilbert & Sullivan Players under her belt and she is the quintessential G&S heroine.

Major-General Stanley, father of Mabel and her many sisters, is played by Patrick Quinn.  Quinn cuts a fine figure as the Major General, and does well with the rapid-fire patter songs, but did stumble over many lyrics opening night, as well as leaving out a somewhat important line of dialog.  However, I suspect only G&S purists would notice.

Roger Preston Smith is the Police Sergeant, the head of a Keystone Cops-esque group who are too frightened to go out and fight real pirates.  The police are usually great crowd pleasers and while this crew got its applause, there was something about Mark Esposito’s choreography for the police which left something lacking.

In the smaller roles of Mabel’s sisters, Edith, Kate and Isabel, Christy Morton, Shannon Warne and Rachel Eve Moses were each unique characters and delightful to watch.  Kate’s solo bit in “Climbing over rocky mountains” was sung as practically a sultry torch number, quite a change of pace and very effective.

Papp added two songs to his version of “Pirates of Penzance,” the matter trio from “Ruddygore” (a patter song for Frederick, Ruth and the Pirate King), with slightly rewritten lyrics, which was beautifully enunciated by all, and a segment of Josephine’s aria, “Sorry her lot,” from “HMS Pinafore,” which had originally been added to give Linda Ronstadt something else to sing.  It fits so perfectly where it is situated in the story, following Frederick’s confession that he must leave Mabel and return to his pirate band, that, again, only a G&S purist would notice the insertion.

The Music Circus production is great fun and, as Joseph Papp intended, a great way to introduce a whole new generation to the music of Gilbert & Sullivan.