Shameless Pirates
Reviewed
6/25/04
by Gilbert & Sullivan
Directed by Ben Tyler
Hale Centre Theatre, Gilbert
(480) 497-1181
June 24th - August 7th , 2004
$9.00 - $16.00
Though I have seen very successful comedies produced at Gilbert’s Hale Centre Theatre, I had yet to see a successful musical, and admit that I doubted one could be performed on the postage stamp of their stage. But, as Willy Wonka said, “Never ever doubt what you haven’t seen.” The inherent theatricality of Gilbert & Sullivan’s The Pirates of Penzance is the hook that crafty Ben Tyler seizes upon to take a cast of 22 and fill up the stage with merriment without making it feel crowded. The show is not without it’s problems, but Tyler has no problem using every double entendre and obvious quip to create a shamelessly over-the-top operetta that is almost too funny.
Frederic (Jeffrey Walker) is a dutiful young man whose ditzy nurse Ruth (Andrea Pruseau) accidentally indentured him from the age of eight to the grandiose Pirate King (Joseph Kremer) and his band of merry, if not exactly successful pirates. His service completed today, his 21st birthday, he announces his intention to exterminate his former crew. Ruth, who has designs on this much younger man, begs him to take her, claiming she is as beautiful as any woman, but the arrival of a very modern Major General Stanley (Gary Helmbold) and his bevy of beautiful wards lead by the coquettish Mable (Nicole Alexandrea) proves that wrong, and he sends her away. Things look peachy for Fredric and Mabel once they save the wards from the clutches of these kind-hearted pirates, and his plans to exterminate them with the help of a Sergeant (Carson Saline) and his bobbies goes awry when Ruth and the Pirate King reveal a twist that changes everything.
Tyler readily acknowledges that this is operetta, and this Penzance is very much a theatrical event. No attempt at verisimilitude is attempted, and that is what makes this as enjoyable an production as it is. Performers shift constantly to allow for better sight lines for all, and rocks and stone walls are shifted without any attempt at realism. Many modern flourishes abound in this mid-19th century piece, from Elvis intimations to a completely unexpected reference to Welcome Back, Kotter. Nothing is sacred, and that’s a great part of the enjoyment. By the middle of the second act, the bloom wears off the squirting rose and threatens to become wearying; Tyler, probably aware of this potential, raises, or rather lowers the bar once more with an incredibly inspired ballet that defies description and perks up the final section of the show. Brent Mills’ choreography is perfectly in synch with the silliness of the proceedings, and a good mix of period and kitsch.
While the direction is crucial to the success of the evening, the performers are equally responsible. The strongest and most complete performance comes from scrappy Pruseau who slips in so many quips under the radar, it might be advisable to see the show a second time just to concentrate on her. I’m not quite sure why Alexandrea never ventured from the ASU campus, but her first performance in the real world gives every indication that this will not be her last. She is a powerful singer and a strong presence as Mabel. Though not as strong a singer, Walker is quite fun as the earnest Frederic. Kremer is a hilariously preening Pirate King, and sets the tone early for the baseline of the humor. Helmbold seems a bit overwhelmed by the expectations of his quick-paced initial patter song, but his diminutive stature and fireplug power quickly overcome this. Saline’s Sergeant is a creation unlike any other I’ve ever seen from this role, and endearing for its difference. Finally, the ensemble is strong and uniformly enjoyable.
The space allows for only a pre-recorded sound track, and while Chrissy Whaley’s music is okay, too often performers find themselves behind in the count. John Autore’s sets are impressive not for their onstage offerings, but for the impressive designs that surround the audience. David Dietlein’s lighting is basic, but once again Cyndee Smith’s costumes are dazzling. The biggest design disappointment of the evening is the all-important sound design. The technician is listed as Marc Cram, which one can’t help but feel is a pseudonym that acknowledges the awfulness of the creation. When performers faced the other way, more often than not, they were unheard, and the ear-battering mic problems were nearly overwhelming on the opening night.
The east valley can now boast of two excellent musicals running simultaneously during the oft-tentative summer season. This Pirates is an excellent reason to skip the blockbuster flicks and enjoy a live presentation that will do pretty much anything to make you laugh.
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