An ebullient fromage
by Michael
Dresdner
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| Major-General Stanley (Gary Chambers) all photos by Tim Johnston |
Last night, in place
of the typically understated British comedy, Lakewood Playhouse served up a
bouncy, slightly cheesy homage to the well-loved Gilbert and Sullivan operetta
The Pirates of Penzance.
Energetic, a bit
goofy, and definitely colorful, it was a bit far afield from the well-known D'oyly
Carte version. For instance, the pirates in the opening scene were clad not in makeshift
seafaring garb, but in a piebald tableau of costumes (Rochelle-Ann Graham) ranging
from the ridiculous to the expected. Even the Major-General carried a riding
crop instead of the expected swagger stick. Fight scenes and dance movements
were on the whole more picaresque than realistic, and often comically exaggerated,
as if Monty Python snuck in during rehearsals.
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| The rather motley pirates |
For those needing
it, the convoluted story line opens with Frederic (Fune Tautala), the male
lead, on the day his indentured servitude on board the pirate ship ends – when he
turns 21, though being a leap year baby, he’s had only five birthdays, a real
sticking point later. Valuing obligation above all else, he says he was a loyal
pirate but now that he’s free, his hatred of their criminal ways means he vows to
destroy them, but not before he points out to the Pirate King (John Munn, who
also directed) why they are such unsuccessful pirates. You see, they won’t
fight anyone weaker, they lose to those who are stronger, and won’t harm
orphans. Yes, you get it; their savvy victims all claim to be orphans.
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| L to R: Ruth (Sawrey), Frederic (Tautala), Pirate King (John Munn) |
His nurse, Ruth (Kathy
Sawrey), the only female he’s ever seen, (hey, he’s been at sea with pirates!) assures
him she is in fact beautiful as any woman. That works until he meets the
daughters of Major-General Stanley (Gary Chambers), and in particular daughter
Mabel (Allyson Jacobs-Lake), the female lead of the play. Ruth also explains Frederic
was meant to be a pilot, but she misheard, and apprenticed him to pirates
instead, the first of several intentional word association misunderstandings. (This
is nautical and before airplanes, so a pilot is the person who steers a ship, not
a flying ace.)
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| The Major-General's daughters |
The Major-General
orders the police, led by Sergeant Edward (Derek Hall) to arrest the pirates, (they
fail, but no matter) and all manner of mayhem, dancing, and silliness ensues
until the lovers unite and everyone turns good, bound by their mutual loyalty
to Queen Victoria.
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| Sergeant Edward (Hall) and his cops |
Technically, the
production was excellent, from the deft control of the stage manager (Nena
Curley) to such subtle touches as the lighting (Aaron Mohs-Hale) during fades
ending with a final spot on the queen’s profile. The unusual set (Blake York)
had a generously raised (three steps up) platform thrusting out from a fake
traditional proscenium background replete with the obligatory cameo portrait of
Queen Victoria in the center top. Inside the arch were several background
paintings (Carrie Foster) that slid aside like curtains to change the location
scenery.
What was odd was
that the orchestra, an outstanding three-piece group (musical director Deborah
L. Armstrong, Gus Labayen, and either Tai Taitano or sub LaMont Atkinson) was
in a large square pit smack in the center of the thrust stage. Though possibly
a bit distracting, being in the center of the action meant they were able to
perfectly monitor both pace and volume. On the other hand, it meant that most blocking,
fighting, and dancing was restricted to a veritable catwalk surrounding them.
The singing was,
on the whole, stronger when the ensemble joined in, though there were some
highlights among the leads. Tautala (Frederic), while more of a musical comedy vocalist
than an operatic one, was strong, clear, and easy to understand. Ditto for
Sawrey (Ruth) and Jacobs-Lake (Mabel,) though all struggled with the occasional
false notes and weaknesses, especially in the lower ranges.
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| Mabel (Jacobs-Lake) |
Chambers (the Major-General)
did a fine job with his signature tongue-twisting song, though his character, with
his stuffed teddy bear and slightly mincing ways, was more Brideshead Revisited
than Col. Blimp. Throughout the cast English accents came and went more or less
as needed, such as during the confusion about the words orphan and often, both
pronounced “ah-fin.”
The packed house
on opening night seemed to enjoy the production very much, either because of or
in spite of its departure from the norm. It certainly served up a healthy dose
of bright, enthusiastic energy, and that may be just what we need in these
trying times.
The Pirates of
Penzance
May 26 to June
25, 2017
Lakewood
Playhouse
