Judging from the well sold house and thoroughly enthusiastic reception at the first night, this new production of Gilbert and Sullivan's Pirates of Penzance looks set to be a success for Scottish Opera.
What great entertainment. First credit goes to composer Arthur Sullivan, often overlooked for his more serious works, but with the lyrics of Gilbert, a genius of musical satire. Which seasoned opera listener can help but enjoy the skill with which he pokes fun at the absurdity of this "high" art form? Whether with eye-popping coloratura, or a dramatic betrayal recitative and aria that references all Mozart's darkest Da Ponte moments, or a hymn to Poetry that waves to Beethoven's rousing chorales – it's all here.
This new co-production with D'Oyly Carte Opera Company is not without its eccentricities. Mainly the set follows the logic of a cartoon strip, with thin pencilled backdrops that clear space for the preposterous action. There is a strong Monty Python feel – another British institution that lampooned authority – with giant cut out props that descend, and a Sergeant of Police that could be John Cleese. Stage direction is neat, and underlines with a fine-nibbed pen what might easily collapse into a chaos. There is plenty of delightfully choreographed movement, though the end is still a jumble.
All the cast give strong performances, including the chorus. Stephanie Corley as Mabel is both hilarious and touching, Graeme Broadbent's camp Yorkshire Sergeant is a hit with the audiences. The hero Frederic is played with fluidity and warmth by Nicholas Sharratt, and it is a delight to hear the insane patter of Richard Suart as Major-General Stanley drip in such perfect aristocratic English drawl.
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