Review – Monmouth Music Theatre Society: The Pirates of Penzance

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AS a boy, I remember my grandfather humming Gilbert and Sullivan tunes and he knew all the lyrics by heart. My knowledge of G& S is limited but as the production unfolded – brought bang up to date with parody and satirical references even to the chairman of Volkswagen – I realised how timeless, contemporary and extremely clever the lyrical writing of WS Gilbert was, superbly synergised with his musical counterpart, Arthur Sullivan.

The choice of the Savoy Theatre in Monmouth as a setting for a G & S opera is a triumph. This building is an absolute gem, and probably not as appreciated by the local populace as it should be.

This production was vibrant, full of life and energy. Instead of a predictable ‘them and us’ division between the main character roles and the chorus, I saw a seamless act, with everyone working together effectively and clearly enjoying themselves which transfused into the audience.

Kevin Passey’s interpretation of the Pirate King held a strong and amusing central position, and for all the right reasons, exhibited Captain Pugwash-esque tendencies.

Adrian Bevan’s rendition of Frederick was assertive, confident with a swaggering sexiness and perfect execution of the role.

Jess Martin (Mabel) who, I was told, is only 15 years-old, definitely has a singing career ahead of her. A compelling overall performance.

Reuben Jones’s caricature of Major General Stanley was possibly his most successful yet, after his recent powerful Fagin in Oliver!

Robert Hudson (Samuel), Rachel Parker (Kate), Andrea Pole (Edith), Jess Netherway (Isabel) and Katie Ellis (Ruth) gave brilliant individual support to a wonderful cast.

There were also some highly amusing and cleverly choreographed and directed cameos of individual performances – most notably by Kate Russell (the director) in the Policeman’s Lot scene. Understated and laughing gear fully guaranteed! Bill Mackie’s strong professional operatic bass voice added colourful gravitas to the Keystone proceedings.

The whole performance was given solid support by musical director, Ian Russell, and accompanist, Helen Stidolph.

Kate Russell must be congratulated for so successfully engineering a difficult fusion of acting, singing and choreography together making for a hugely successful evening’s entertainment.

– Nelson Whaley.

•See this week’s Review for more photographs.