Fully committed to presenting stories in new and different ways, Gamut Theatre sets sail once again with their rendition of “The Pirates of Penzance,” a madcap rom-com/good-guys-vs-bad-guys operetta adapted from the quill pens of Gilbert and Sullivan.
Because these two composers were never content to rhyme “June” and “moon,” the Gamut cast is challenged with a complex musical score overflowing with unusual polysyllabic words, tongue twisters, and sheet music with more black ink than white space—all of which they deliver with artistic athleticism while making it look like an effortless day at the beach.
Director/choreographer Benjamin Krumreig (Major General Stanley) veers just slightly off course from the original storyline, with a century-old premise set in 1925. Instead of traditional pirates who pillage, Gamut’s pirates are mascots and lifeguards of an Ivy League rowing crew. They are joined onstage by fair maidens, a school nurse, and of course, the very model of a modern major general, with the word “modern” interpreted more as a stretch goal than a reality.
As Major General Stanley, the funniest and quirkiest character of the whole lot, Krumreig has mastered major modern dance steps and isn’t afraid to break the fourth wall. He also delivers the most recognizable tune of the evening: “I Am the Very Model of a Modern Major-General.” I wasn’t sure if the mistakes were intentional, but they surely added to the show’s hilarity.
Anachronisms are part of the play’s charm, with wordplay being part of the art of the farce. So are the over-the-top characters, the slapstick, the plethora of weird things performed in unison, and the rest of the odd lot that comprises the stuff and nonsense that is British humor. Even the name of Gilbert and Sullivan’s Opera Company, D’Oyly Carte, is rife with silliness. If Bart Simpson prank-called Moe Szyslak on a hand-crank telephone mounted to a wall, “D’Oyly Carte” would have gotten a laugh.
The combination of props (Alex Winnick, also Tenor Chorus) and costumes (Charlene Gross) became the subject of some merriment. Uncomfortable-looking men pranced onstage wearing skimpy costumes with enormous oars dangling from their belts, wearing crew uniforms resembling bumblebees, and lifeguard uniforms that looked a little like wrestling singlets. (In many scenes, the singular discomfort of Bass Chorists Calian Byard, Marcus McGhee, Chris Ondeck, and Preston Schreffler became part of the fun.) Yet the women were modestly covered and comfortable in their spring fashion wear, probably ripped from the 1925 Sears catalog or from Montgomery Ward’s.
Winnick and Gross succeed in creating purposeful paradox between the men and the women. And in case you missed the subtlety, there is a song centering on paradoxes to hammer the point home: “When You Had Left Our Pirate Fold,” with its rollicking lyrics skillfully delivered by Ruth (Melissa Janicki), Frederic (Timothy Lupia), and Pirate King (Giovanni Traino).
The best part of “The Pirates of Penzance” is the music—familiar songs the audience will hum on the way home. The pit orchestra delivers melodies ranging from erudite chamber music to pitter-patter notes in the background when Tom chases Jerry through his mouse-shaped hole in the wall. Expertly setting the many moods are Music Director/Piano/Conductor Nicholas Werner and his merry band of music-makers: Morgan Hackett and Joseph McAnulty on violins, and cellists Sarah Topping and Ali Koch.
With 18 amazingly talented singers in every imaginable combination and 30 song titles longer than a rowing oar, I would rub my fingerprints off while typing the list of all the harmonically pleasing numbers that felt well blended and vocally balanced—although I would be remiss if I didn’t call out the impressive vocal acrobatics of Sarah Anne Hughes (Mabel), with multiple songs containing falsetto trills.
All the singers together as an ensemble communally blend some of the loveliest choral strains outside a church cathedral—likely aided by seasoned returning veterans from “H.M.S. Pinafore” Krumreig, Hughes, Schreffler, Tony Barber (Samuel), and Madison Eppley (Edith) to season the G&S pot.
I didn’t even suspect (until I cheated when I got home and read the program) that over half the cast members are making their Gamut debut with this operetta: Hannah Arnold (Alto Chorus), Byard, Weimy Montero Candelario (Alto Chorus), Victoria Debernardis (Soprano Chorus), Elizabeth Hood (Isabel/Mabel Cover), Lupia, Bryden McCurdy (Kate/Alto Chorus), McGhee, and Traino. Also new-ish to Gamut Theatre is Hope Mager (Alto Chorus), who is wearing many hats onstage and behind the scenes as their new public relations manager. Bravo to all debuting artists. You thoroughly fooled me.
If the concept of listening to opera makes you feel a little intimidated, let me offer you some reassurance. The lyrics are sung in English, unlike traditional opera, so you won’t need subtitles or a bouncy ball to follow what’s going on. If you miss a tongue-twister or two the first time around, it will likely be repeated right away. The players are quick to let the audience in on the many running gags. Although the pacing is ridiculously brisk, Gamut packs this cast full of strong voices and powerful lyricists.
Although some elements of “The Pirates of Penzance” might go over the heads of the wee ones in your crew, there is no objectionable material that would likely offend. If you stop to see the bartender (Jess Yahner) before the show or during intermission, be sure to ask for a jug of a specially themed signature drink. Unlike most items on the bar menu, the music and silliness are perfect for all ages and make for a night of dutifully ship-shape family fun.
“The Pirates of Penzance” runs through November 17 at Gamut Theatre, 15 N. 4th St., Harrisburg. Find more information at https://www.gamuttheatre.org/pirates.
