Pirates! The Penzance Musical
In order not to repeat arriving in America with H.M.S. Pinafore only to discover 13 unlicensed productions, W.S. Gilbert and Arthur Sullivan (David Hyde Pierce and Preston Truman Boyd) tell us they personally brought Pirates of Penzance to New York. Changes apparently occurred mid ocean.
The show has an identity problem. Set in 1880 post-reconstruction New Orleans where there actually were pirates, music barely nods to familiar, indigenous sound that would frankly be welcome. Though new arrangements of Sullivan’s score surprisingly meld, original songs arrive generic. Gilbert’s dry wit is only intermittently apparent.
Remin Karimloo (The Pirate King) and the Company
David Hyde Pierce, bless him, sets a high standard others eschew in favor of overly broad performance. Audience vociferously reacts to any Pierce turn, yet are not trusted with other nuance. Farce must be played “straight” to be funny. Too much obvious winking diminishes effect.
The actor’s “Modern Major General” and “Nightmare Song”, borrowed from Iolanthe, (songs from Pinafore and Mikado are also injected) especially showcase what could’ve been done with a more aligned take. Pierce’s deadpan expressions, cliché British reserve, and perfect enunciation are a hoot. Every movement contributes to the whole character.
Nicholas Barasch (Frederic), Ramin Karimloo (The Pirate King), Jinkx Monsoon (Ruth)
Also fun are the swashbuckling acrobatics of Ramin Karimloo’s Pirate King, Sebastian. (Someone give this thespian a real lead!) The actor offers wry countenance indicating a sense of humor about himself as player and leader. His comedy has flair. Vocals are splendid.
Frederic (Nicholas Barasch – credibly innocent with an attractive tenor) was apprenticed as a buccaneer at eight when his almost deaf nurse Ruth (Jinkx Monsoon) misheard “pilot” (of a tug boat) as “pirate.” She sings an explanatory song unsuccessfully attempting to be a red hot mama. The conceit is fine, execution is not. Monsoon sings well, but too frequently mugs.
Samantha Williams (Mabel) and Nicholas Barasch (Frederic)
Turning 21, the young man anticipates being released from his contract. He intends to become an upright citizen. “I love you individually, but hate you for the recalcitrant vermin you are,” he tells the men. (Sheer Gilbert.) Aware that his ward may turn him in, the Pirate King nonetheless wishes him well. Sebastian has such a soft spot for orphans (he was one himself early in life) word has gotten ‘round. An inordinate number of captures declare themselves parentless in order to receive leniency. Plunder has been increasingly limited.
Having literally only known one female – Ruth – whom he unwitting promised to marry – first priority for the boy is discovering women/finding love. Rarely on shore, the pirates have a “similar” idea. They encounter eight sisters, daughters of Major General Stanley (David Hyde Pierce) about to frolic at the seaside.
The Company
Costumes (Linda Cho) are awful. Hippie, patchwork denim bustiers paired with panniers, bustles, and ugly boots take us equally far from period and attractiveness. (Hats are just right.) Other show apparel is nifty. (Stanley’s make-up, replete with pink nose and curled mustache, is wonderful – Charles G. LaPointe.)
Frederic declares himself ready to wed any maiden who will have him. Mabel (Samantha Williams – overt in the first act, good in the second) steps forward. The pirates appear, each proposing to a girl, but before anything is resolved, Sebastian discovers Stanley is the man who killed his father. “So glad we can laugh about it now,” the Major General nervously quips.
David Hyde Pierce (Major Stanley) and The Company
Aware of the Pirate King’s reputation, Stanley lies that he’s an orphan…then suffers remorseful nightmares. This imaginative sequence is one of the best. Pirates in white and white face act as blaming ghosts. Meanwhile Frederic calls the scaredy-cat police who tap dance up the aisle lead by Preston Truman Boyd. The sergeant gets his own song. Boyd is talented, the number superfluous. When a twist of fate makes the young man a pirate again, chaos ensues.
The original operetta combines humor and satire, ultimately emphasizing themes of duty, love, and the absurdities of life. This version tacks on a contemporary ending based on New Orleans (life) being a melting pot – “We’re all from someplace else” – as if that addressed issues. It’s eminently relevant to politics, but not to the show.
David Hyde Pierce (Major Stanley), Ramin Karimloo (Pirate King) and The Company
Physical direction is lively and pleasing; use of theater aisles an added attraction.
Warren Carlyle’s choreography shows wit as well as exuberance.
Fight direction (swords) Rick Sordelet and Christian Kelly-Sordelet – deserves special call out.
David Rockwell’s set, like its subject – looks as if designed by a committee. Structures, especially the ship (and ivy), are engaging, while the painted scrim inevitably looks less professional.
The show is lighthearted. Gods know we need that now. There’s talent and drollery. One can’t help but imagine how much better it would be, however, were overall vision cohesive.
Photos by Joan Marcus
Opening: Nicholas Barasch and the Company
Roundabout Theatre Company presents
Pirates! The Penzance Musical
W.S. Gilbert and Arthur Sullivan
Adaptation – Rupert Holmes
Music Direction – Joseph Joubert
Directed by Scott Ellis
Through July 27, 2025
Todd Haimes Theatre
227 West 42nd Street
