Whilst Sydney’s Hayes Theatre Co always strives to push the limits of musical theatre, The Pirates of Penzance; or, The Slave of Duty might be their most ambitious production yet. Bringing their magic to the Illawarra Performing Arts Centre, they deliver a fun-filled night of silliness and laughter, audience participation, and the power of poetry to change the world. Whether you’re a Gilbert and Sullivan devotee or know nothing about what you’re getting yourself into, this production has something for everyone.
Gilbert and Sullivan’s classic tale of incompetent piracy, high society, and always reading the terms and conditions, has been adapted and revamped by Hayes’ own Richard Carroll for a modern audience and a cast of just five (compared to the usual thirty or so). The result is nothing short of brilliant, blending parts of the almost 150-year-old original with copious metatheatrical laughs and 2020s pop culture references. One minute, the word “escutcheon” is used, the next, it’s brat summer, mumagers, Sabrina Carpenter, and Wicked. The plot is adjusted to fit the 21st century, empowering Mabel and replacing questionable royalist themes with a heartfelt love of art.
The design of Pirates draws you in from the first second. A number of audience members are seated on the stage, situated on comfy couches or mismatched barstools in a cosy, weathered seaside inn, complete with a swath of Pirates of Penzance posters. The simplicity of Nick Fry’s set transfers seamlessly from the tiny Hayes Theatre to the IPAC’s much bigger space, and allows the characters to romp through all kinds of settings without the need for clunky set changes. All you need is Jasmine Rizk’s brilliantly over-the-top lighting, and a healthy spoonful of imagination. Add Lily Mateljan’s delightfully ridiculous costumes to the mix, and this pirate crew (and high-society family, and police legion) is ready to knock your socks off.
The pirate crew (et cetera) in question, Maxwell Simon, Brittanie Shipway, Jay Laga’aia, Trevor Jones and Billie Palin — described by Carroll as the “Avengers of music theatre” — are nothing short of stellar. Simon is impossible not to love as the titular (sub-titular) “Slave of Duty” Frederic, a pirate apprentice who decides to hang up his Jolly Roger when his indenture ends, only to be thwarted by the wording of his contract. Frederic’s forays into “the joys of heteronormativity” are kept light and funny by Simon’s goofy charm, with exaggerated delivery that gives you permission to laugh at the Andrew Tate-y-ness of it all.
Meanwhile, the boundlessly talented Shipway shows her impressive dramatic range as both the well-loved nursemaid turned pirate Ruth and the young, bold and independent love interest Mabel. Her fierce heart, deadpan comedy, and off-the-charts vocals are simply unmissable, a true highlight of this production. Laga’aia, playing the (not-so) fearsome Pirate King and others, is effortlessly side-splitting in his ultra-serious portrayal of his characters’ constant fumbling, with more than enough wholesome dad energy to go around.
The cast is completed by Jones’s campy hilarity and lightning-fast quick changes as the iconic Major-General (et al.) and prowess as the show’s pianist and musical director, and Palin’s dynamic energy and comedic timing as the onstage swing. The five performers play off each other and the audience effortlessly, forming a tight-knit ensemble that really does feel like they’ve been adventuring together for years.
Of course, a musical wouldn’t be a musical without the music, and Victoria Falconer (co-arranger, musical supervisor) and Trevor Jones (co-arranger and musical director) blend the five voices into beautiful, delicate harmonies and dazzling solo numbers. The songs range from campfire fun to Les Miserables-esque bravado to wordy patter and everything in between, with instruments being played live on stage by the cast in an impressive and frequently comical balancing act.
Overall, Pirates is nothing short of magical — a deeply special “there’s no way that will work” brand of magic that Hayes Theatre Co do so well. You’ll laugh so hard you cry, find yourself hooked on the plot’s twists and turns, and root for the motley crew’s happy ending. This show is one for lovers of Zombie!: The Musical, A Midsummer Night’s Dream, and Our Flag Means Death, as well as anyone looking for a ridiculously fun night out that comes with a sincere (ish) apology to Gilbert and Sullivan.
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