A production of Gilbert and Sullivan can be successful in several ways. If performed with pinpoint accuracy, following the original structure and conventions of the times in which they were written, the precise music and lyrics can carry the humor of the piece. When performed against conventions, adding a modern feel and contemporary quips for American audiences, theatergoers can invest themselves into the piece. Finally, by treading a thin line between the previous options, but offering the show with good comic timing and lots of "pluck," success can be achieved. It is this path that Ben Tyler and Desert Foothills Theater have taken to create their cute and wispy offering of The Pirates of Penzance.
Frederic has been indentured since childhood to the Pirate King. It is now his twenty-first year, and he has been released from his bond, vowing to exact revenge on the scurvy (though harmless) band by calling the police on them. He and his former nurse, Ruth, are left to their own devices. The decidedly middle-aged Ruth presses Frederic to marry him, but he happens upon the bevy of daughters of a very modern Major General, and specifically the lovely Mabel. He loses his heart to the young girl. Ruth and the Pirate King find an ingenious loophole to force Frederic to choose between Love and Duty.
Ben Tyler is undeniably a funny guy, and his natural comic timing and jocund wit exude from this production. He has directed some very enjoyable moments and great anachronisms into the piece, which has his fingerprints all over it. From the Keystone Bobbies to the funky-dancing Pirates, he has added just a dash of the modern to a generally period piece. While sometimes the show drags, an unavoidable problem with the repetitiveness of Gilbert and Sullivan, Mr. Tyler always finds a way to snap the audience's attention back to the stage once more.
The leads are effective, especially Erik Sparks as the Duty-torn Frederic, and Carolyn Whitaker as the lovelorn Mabel. Mr. Sparks has a lovely tenor, and though he looks a bit older than one-and-twenty, he can cut a dashing and comedic figure. Ms. Whitaker also has a beautiful voice, and imbues as much character into the rather one-note Mabel. Lee Powers is surprisingly powerful and jovial as the Pirate King, and Phyllis Fort is funny, earnest, and sings well the role of the desperate Ruth. While vocally lacking, Ray Arnold plays his Major General role for all it's worth. Much weaker are Jack Pauly as Pirate Second Mate Samuel and Brandon Taylor as the Police Sergeant, whose voices are not up to the difficulties of G&S.
Two of the three ensembles, the Pirates and the Daughters, are culled from schools around Arizona, and their youth shows in both good and bad ways. They are undeniably enthusiastic and energetic, though they seem vocally hesitant and unable to project for much of the show. There's no hope for the Police(wo)men ensemble, who are as weak as their Sergeant in singing, acting, and dancing.
Liz Lincoln's extensive-though-basic choreography is muffed by some of the ensemble, while Warren Cohen does a great job conducting the 11-person orchestra. Aaron Severtson's set is utilitarian, but his lighting, which has the sky's colors shifting from orange to green to blue to purple indiscriminately is distracting. Elaine Adrian's costume design is very well done.
A Gilbert and Sullivan Light Opera is not everyone's choice for an evening's entertainment, and I found it impossible to convince anyone to join me for this show. That's a shame, because everyone I queried missed a cute production of a funny script. While there are some moments that do not work, the overall is whimsical, and the singing of the two leads outstanding.
Production Details:
The Pirates of Penzance or The Slave of Duty Book by W.S. Gilbert, Music by Arthur Sullivan
Desert Foothills Theater
The Cactus Shadows Fine Arts Center, Cave Creek
(480) 488-1981
April 13th - 22nd, 2001