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CRITIC'S CHOICE!
July 2, 2007
STAGE REVIEW
'Pirates of Penzance' still rocks
The Gilbert & Sullivan opera receives an enjoyable production in Long Beach.
By Daryl H. Miller, Times Staff Writer
The moral of the story is: Don't judge a pirate by his skull and crossbones.
How daffy. How instructive. How sweet. Such a message could be delivered by only one show. No, not "Pirates of the Caribbean." Think back a tad further, to "The Pirates of Penzance," the 1879 operetta by W.S. Gilbert and Arthur Sullivan. Though perennially popular, the show had grown dusty and fey until a 1980 New York Shakespeare Festival production gave it a rock 'n' roll edge by casting pop stars Rex Smith and Linda Ronstadt and actor-on-the-rise Kevin Kline. A just-opened staging in Long Beach by Musical Theatre West swaggers with a similar rock-concert attitude and once again casts Smith in a leading role, though this time not as the angel-faced juvenile but as the Steven Tyler-sexy Pirate King.
Right from the start, the audience knows it's in for a good time. Smith, in mock-heroic mode, swings ashore from a two-dimensional sailing ship and, sword at the ready, looks to cause mischief. Spotting baton-wielding musical director Daniel Thomas in the orchestra pit, the singer challenges him to fight and quickly gains possession of the baton, to conduct the company in its first song.
As directed by Steven Glaudini and choreographed by Jamie Torcellini, the show continues like an Errol Flynn swashbuckler crossed with a Harold Lloyd comedy: For when in action mode, the Pirate King, often as not, ends up with a bucket over his head or a foot stuck in a wooden crate. Smith is, as well, the source of much of the rock-concert hipness. Dressed in open-to-the-navel shirt, tush-hugging pants and flashy scarf, he turns the Pirate King's songs into proto-pop chart-climbers.
The plot is driven by Frederic, an apprentice pirate of age to become a full-fledged member of the Pirate King's band but who as a man of conscience feels duty-bound to turn around and eradicate his felonious — but tenderhearted — friends.
Kristofer McNeeley lends Frederic a noble, ringing tenor. The cherub-cheeked lad falls for blond-ringleted Mabel, who, as comically portrayed by Jennifer Malenke, seems taken with Frederic but is still more interested in showing off her fluttery soprano — especially the notes so high that they cause Frederic, on his knees adoring her, to pinch his ears shut in pain.
Contributing laughs as well are Mary Gordon Murray as Frederic's onetime nursery maid, who gets a pirate makeover in Stevie Nicks bohemian wear, and Norman Large as Mabel's father, a major general fond of epaulets, sun umbrellas and tongue twisters sung at breakneck speed.
The plot roils with opera-like grand passions and imminent peril, counterbalanced by a playful thumbing of the nose at such conventions. Lyricist Gilbert and composer Sullivan really outdid themselves with this show, stuffing it with such all-time greats as "Oh, False One, You Have Deceived Me," "Poor Wandering One" and "I Am the Very Model of a Modern Major-General." Momentarily forgetting itself, the music surges into operatic lushness when Frederic and Mabel seem destined to be kept apart. But soon those lovable pirates return, and the laughs begin anew.
daryl.miller@latimes.com
'The Pirates of Penzance'
Where: Carpenter Performing Arts Center, 6200 Atherton St., Long Beach
When: 8 p.m. Thursdays through Saturdays, 2 p.m. Saturdays and Sundays, also 7 p.m. this Sunday
Ends: July 15
Price: $25 to $52
Contact: (562) 856-1999, Ext. 4
Running time: 2 hours, 20 minutes
Rex Smith as the pirate king in MTW's
The Pirates of Penzance
The Pirates of Penzance
July 05, 2007
By Les Spindle
During the heyday of librettist William S. Gilbert and composer Arthur Sullivan in the 1870s, the pair churned out enormously popular British operettas, introducing what might be considered early forerunners to camp entertainment. How else could one categorize such G&S ingredients as the so-bad-they're-good patter songs, such as "I Am the Very Model of a Modern Major-General"? Joseph Papp's smash-hit Public Theater staging in the 1980s of The Pirates of Penzance upped the camp quotient in spades, and director Steven Glaudini's melodic and gloriously giddy revival for Musical Theatre West adheres to the same approach.
The karmic link here to Papp's reinvention of this classic is the stellar presence of Rex Smith, who stars as the preening and athletic Pirate King in this mounting. He played the male romantic lead, Frederic, in Papp's production and a subsequent film adaptation. He belts out the narcissistic leader's ballads with tremendous authority and style and grins to the audience like the Cheshire Cat as the actor indulges in delightful scene-stealing slapstick, such as wrestling with music director-conductor Daniel Thomas for the baton and leading the chorus of scraggly pirates in song.
Yet this is far from a star-dominated production, as it's filled to the brim with scintillating performances. In Smith's former role, Kristofer McNeeley is strong in voice and a master at mock-serious nobility, offering a rib-tickling spin on the self-important stock hero. As Frederic's demure ladylove, Mabel, Jennifer Malenke is likewise a hoot, evoking hilarity with her ironic facial expressions and spot-on line readings. She also sings magnificently and elicits raucous laugher with her audacious Jeanette MacDonald-like trills. Mary Gordon Murray is divinely funny as the deceptive nursemaid Ruth, Norman Large is a frequent showstopper as the loopy Major-General, and John Massey Jr. excels as second-banana pirate Samuel.
Thanks to the crackerjack efforts of choreographer Jamie Torcellini, the fancy footwork of police sergeant Paul Clausen and his high-kicking chorus line of Keystone Kops-like officers is dazzling. The entire company of superb actor-singer-dancers deserves a salute. The glittering production is topped off with Peter Dean Beck's magnificent cartoon-style set and Steven Young's delicious lighting. Those who have overdosed on Pirates of the Caribbean opuses might find this fabulously entertaining tongue-in-cheek swashbuckler a nifty change of pace.
Pirates Perambulate To Pinnacle In “Penzance”
By James Scarborough
Who needs celluloid Jack Sparrow when you have the live rip-roaring, outlandish performances and Empire-majestic, Monty Python-witty story and songs that you do in Gilbert and Sullivan’s “The Pirates of Penzance,” directed by Steven Glaudini for Musical Theatre West at the Carpenter Center?
This deft, energetic production captivates you with memorable songs (an unforgettable rendition of “I Am the Very Model of the Modern Major-General”), with death-defying choreography and a sumptuous set.
The premise is silly. No, make that wacky, entertainingly wacky. Availing himself of a story that hinges on verbal misunderstandings and calendar quirks, Glaudini ensures a rousing production.
You want to frame outrageous images: a flock of daughters who twitter around their once-illustrious though now tottering father; clumsy pirates fighting chickenhearted cops in a graveyard; a Pirate King who one moment swoops over the audience on a rope and the next moment loses his pants.
Having just turned 21, Frederic (Kristofer McNeeley) wants to opt out of his internship as a pirate. It turns out that Ruth, his nanny, mistakenly thought Frederic’s father had said to apprentice the lad to a “pirate” instead of a “pilot” and, being honorable and English, Frederic felt obliged to abide by his word.
A swashbuckling softie, the Pirate King (Rex Smith) accepts Frederic’s decision. Frederic resolves to devote his life to rid the seas of the pirate scourges; a task conceivably not that difficult given this particular lot’s clumsiness and tendency to mercy (Keelhaul? Walk the plank? Forgetaboutit!). Upon attack, potential victims have learned to pretend they’re all orphans and the pirates back off.
Virginal Frederic falls in love with comely Mabel (Jennifer Malenke), one of eight daughters of the Major-General (Norman Large); he wants to marry her. He enlists a band of bumptious bobbies (nice hats, no guns, not much sense of gravity, either) to fight the pirate throng.
But Ruth, ticked off at being shunned for a woman far younger, far more beautiful, far more compatible for Frederic, reminds the Pirate King that — surprise! — her former charge was born in leap year and thus wouldn’t technically turn 21 until ...1940.
If pirating were an Olympic event, Smith would win the gold. He undercuts his swagger with gawkiness so that pirate-wise, he’s over the top and under the radar; and he sings the daylights out of his songs.
Perhaps it was the mood lighting and romantic set that reminded us that this was, at heart, a love story; but more likely it was Malenke’s resounding, full moon voice.
In a story that exploits the comic potential of not-quites (not quite sinister, not quite innocent), Large’s Major-General Stanley runs the gamut from war hero and gentleman to Magoo-esque father and elder statesman — and makes you wish that the sun had never set on the British Empire.
Performances are at 8 p.m. Thursday through Saturday, with 2 p.m. matinees Saturday and Sunday. The play runs until July 15. Tickets are $25-$52.
The Carpenter Performing Arts Center is at 6200 Atherton St. on the California State University, Long Beach, campus.
For more information, call 856-1999 or visit www.musical.org.
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PRESS TELEGRAM
July 3, 2007
A lively, comical crew of pirates
by John Farrell
Special to the Press Telegram
The hilarious, bright and sparkling production of "The Pirates of Penzance" that Musical Theatre West opened Saturday is clearly modeled, in many instances, on the Joseph Papp production on Broadway a quarter century ago. It has one of the same stars, Rex Smith, the same style and broad humor and the original 1879 New York finale, instead of a different and more familiar British ending), but this isn't the Papp version, for it uses a pit band instead of a rock combo and restores cut verses from important songs.
That's academic detail. What matters is that this "Pirates," directed by Steven Glaudini, is a rollicking good show, with nearly every one of Gilbert's jokes intact, the singing lusty and powerful, the words, all of them, clearly intelligible thanks to generally reliable body mikes) and the comic spirit in full command.
"Pirates" involves Frederic, a young pirate apprentice; the beautiful Mabel and her sisters; her father, Major General Stanley, and the pirate king and his band of pirates, who try to kidnap and marry beautiful sisters, but are stopped by the Major General, who lies and tells them he is an orphan.
Smith was the 21-year-old Frederic in the 1981 show. Now he is the king of the pirates. He knows he is the star and so do you, but he has so much fun showing off, swinging on ropes (one right over the audience and pit band), making it clear he doesn't take himself too seriously, that his performance is one you'll remember for a long time.
He is also a fast thinker. When Broadway star Norman Large made his entrance as Major General Stanley, one of the key points in the show, it was clear his body mike was dead. Smith rushed offstage and returned to hand Large a handmike and to urge him to begin his song again. Large improvised a response, and the show continued in great humor.
Large, hidden in heavy white side-whiskers and enough medals for a regiment, proved himself a perfect G and S star, running throught the Major General's patter, even after the mike incident, with ease, and taking the encore at a fast pace without a hard breath. (The chorus provided that.)
Making her Musical Theatre West debut as Mabel, Jennifer Malenke proved that she has both the looks and voice to conquer. Sullivan gave Mabel a coloratura vocal line as an operatic joke, but few young singers have the range and strength to make the joke work. Malenke hit high-note after high-note with ease and power, and had the flexibility to add improvised trills as well. Moreover, she has great comic timing.
Kristofer McNeeley also made his MTW debut as Frederic, Smith's old role, and he had the looks and the voice and the geniune look of innocence that Frederic must have. He was delightful in duets with Malenke.
Ruth, the middle-aged nursery maid who mistakenly apprenticed Frederic to the pirates, and who is in love with him, is often a hard role to play. Gilbert liked to make fun of middle-aged love in a way that is a bit cruel.
Mary Gordon Murray turned that on its head. In the first act she is a prim and even elderly person, but when she turns into a piratical maid, she also becomes sexy, with a thigh-high cut to her dress, a saucy garter on her well-turned leg, and a feminist determination to get her revenge on Frederic, who threw her over for a beautiful 17-year-old.
Paul Clausen is the rubber-bodied Sergeant of Police, almost too campy in the high Papp style, but he sings the delightful "Policeman's Lot" with heartfelt energy. John Massey Jr. makes Samuel, the leader of the pirate band, a comic tour de force. Anne Fraser Thomas is wonderful as Edith, Mabel's flirtatious sister, and all the pirates and daughters are fun to watch, individuals and not just choristers.
Daniel Thomas leads the orchestra, which was shaky in the overture but came up to the company's excellent standard afterwards. Costumes and sets borrowed from Edmonton Opera were wonderfully comic, especially the Major General's changes. Both his dressing gown and sleeping shirt were bemedalled and decorated with epaulets.
John Farrell is a Long Beach freelance writer
Friday, July 6, 2007
This 'Pirates' is sea-worthy
Review: The Long Beach staging of the Gilbert and Sullivan classic has great casting and a playful heart.
By ERIC MARCHESE
Special to the Orange County Register
Mention of the words "pirates" and "theater" in the same sentence will, for most, connote the names Johnny Depp and Disney Studios. But for 128 years, the "Pirates" that ruled live theater was created by W.S. Gilbert and Sir Arthur Sullivan.
The duo's comic operetta "The Pirates of Penzance" received its world premiere in New York in 1879, was a resounding hit and has endured ever since. And just as it surpassed the century mark, Joseph Papp and his Public Theater of New York revived it on Broadway for audiences of more cynical tastes.
Teen idol Rex Smith and rock star Linda Ronstadt were the young lovers, Frederic and Mabel, of that 1981 production – casting that proved not merely novel but, rather, integral to the staging's success.
Smith is now far beyond the acceptable age range for his original role – no reason, though, for him not to take on the more flamboyant (and not in the Depp sense, either) role of the Pirate King. It's a match made in theater heaven, as seen in Musical Theatre West's rollicking staging at the Carpenter Performing Arts Center in Long Beach.
The ruggedly handsome Smith cuts a bold, swashbuckling figure at the Carpenter, bounding across the stage, swinging over it on a rope, heartily outdueling three or four of his own men at a time.
The Pirate King's bravado, though, is of the tongue-in-cheek variety. In his low-cut white blouse, tight black pants, high boots and cummerbund, Smith is part blackguard, part rock star. Few "Pirates" characters escape without making themselves look foolish. For Smith, that includes mistiming a leap that lands him in the sea and hopping offstage with his belt around his ankles.
Were Smith the only story here, his casting would rate little more than a footnote. MTW, however, has assembled something not just seaworthy but Broadway-worthy, from Steven Glaudini's expansive direction to Jamie Torcellini's engaging choreography and the musical direction of Daniel Thomas, who seamlessly blends Sullivan's score, one of his most durable, with the cast's vocals.
The opening scene has a playful mood matching the easygoing camaraderie of the pirates (a wonderful bunch led by John Massey Jr. as the chunky Samuel) while setting the tone for the entire show, as the Pirate King duels with pit conductor Thomas, stealing his baton, then using it to conduct his crew's singing.
Glaudini adds touches of whimsy worthy of "The Simpsons": While singing, the Pirate King and Frederic gyrate, Elvis-like, using the hilts of their swords as microphones. Anachronisms abound, as characters do the wave, wield flashlights and pompoms, and the like. Yet, despite the boundless humor, musically, this staging is as grand as grand opera, showcasing a score that is by turns melodic, sprightly and glorious.
In Gilbert's libretto, the kindhearted pirates are all orphans with a weakness for their fellow orphans – including apprentice pirate Frederic (Kristofer McNeeley), about to turn 21. Bound to uphold his duty, whether to his fellow pirates or his new lady love, her sisters and their major-general dad, the pony-tailed McNeeley is naïve and mildly nerdy, with a velvety-soft tenor.
As Mabel, Jennifer Malenke is cheerful and sunny, À la Bette Midler, her Mabel not shy about showing off her operatic skills. Illustrating this staging's comedic-musical duality, Malenke ends one number dueling with a flute melody before joining in with it.
Sporting a spiffy uniform, Norman Large's Major General is a cultured little duffer, a doddering old fool who wears his medals and epaulets on his nightgown (presumably to remind himself of who he is). Large handles his character's demanding, tongue-twisting patter song, and the role itself, with comic aplomb and an aw-shucks modesty.
Often depicted as a plump, homely old maid, Frederic's nurse Ruth is portrayed by the petite and fine-featured Mary Gordon Murray as a comical though no less spinsterish Cockney. Mabel's eight sisters are indeed ravishing beauties of all types, with Beth Obregon, Anne Fraser Thomas and Anne Walsh in plum roles.
As the sergeant of a sextet of goofy bobbies, he being the goofiest of all, Paul Clausen displays stylized, jerky movements reflected by his men, cowards all. Most of the story's men, in fact, are faint-hearted – Gilbert and Sullivan's poke at the fortitude of the British male. Whether we're watching the agile Pirates of Penzance, the graceful young couple and the maidens or the comic-relief cops, Torcellini's dance steps move the sizable cast fluidly and effortlessly.
The handsome sets and costumes, provided by Edmonton Opera, complete the high caliber of this staging. Richard St. Clair's pirate outfits are colorful if predictable – rife with tri-cornered hats, high boots, patches, sashes – while the Major General's daughters are clad in maidenly white Victorian summer dresses. Steven Young's lighting adds rich dimensions to Peter Dean Beck's cloud-filled wash of the sea sky – nicely symbolic of this staging's glorious brilliance.
Freelance writer Eric Marchese has covered entertainment for the Register since 1984.
Contact the writer: emarchesewriter@gmail.com
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