“Did you know Gamut Theatre is putting on a full-blown production of Gilbert and Sullivan’s ‘H.M.S. Pinafore’ this November?”
“Gamut? But Gamut doesn’t do musicals.”
“What, never?”
“No, never!”
“What, never?”
“Well, hardly ever!”
(You have to sing the last line to get the full Gilbert and Sullivan effect—or grab tickets to “Pinafore” to hear this little exchange sung with orchestral accompaniment.)
It might be true that Gamut Theatre “hardly ever” does musicals, but that just makes this upcoming production of (full title) “H.M.S. Pinafore; or, the Lass That Loved a Sailor” all the more exciting. If “Innocent Merriment,” last season’s Gilbert and Sullivan revue, whetted local appetites for some light opera fare, then “H.M.S. Pinafore” is the eagerly anticipated three-course meal.
After the success of “Innocent Merriment,” director Benjamin Krumreig is excited to take Gamut and Harrisburg audiences deeper into the Gilbert and Sullivan canon. The revue did exactly what he hoped and intended. It offered people a lighthearted evening of music and banter that illustrated just how appealing, accessible and un-intimidating light opera actually is.
“Too often, people worry that opera is scary,” noted Krumreig. “They think, ‘I won’t understand it. I won’t know what’s happening. It will be boring. It won’t be funny.’ Nothing could be farther from the truth.”
Gilbert and Sullivan, he points out, were in the entertainment business (not unlike Shakespeare). They designed their shows to be lively, funny—and timely.
There are two camps when it comes to producing Gilbert and Sullivan. There are the traditionalists, who insist that these shows must be done exactly as they were first performed, and the updaters, who believe that modern audiences are more likely to appreciate revamped productions. For example, “H.M.S. Pinafore” has elsewhere been performed as “Starship Pinafore,” where all the action takes place not on a British Royal Navy warship but on a Star Trek–like vessel.
Gamut’s upcoming production leans traditional, but philosophically, Krumreig occupies a space between the two camps.
“There is a reason that some traditions have lasted,” he explained. “But there are also good reasons to modernize some of the dialogue and lyrics.”
Gilbert, the lyricist of the pair, repeatedly poked fun at politicians and other dignitaries. Those references were of their time, however, and the jokes and commentary would be lost on modern audiences. Krumreig firmly believes Gilbert would want us to update those references, so that’s what he’s doing.
“Were Gilbert writing now, he’d be writing jokes about the public figures we all know,” he said. “He would want everyone to laugh, not just the history professor in the third row going ‘har har har’ at the obscure 19th-century reference.”
This is Krumreig’s fourth production of “H.M.S. Pinafore,” though it’s his first time directing the show. “Pinafore” was also Gilbert and Sullivan’s fourth collaboration—and their first international hit. At its heart, it is a love story, a tale of wrong-side-of-the-tracks lovers doomed by a world where class and station are designed to keep people in their place. Happily, in Gilbert and Sullivan’s hands, nothing can stand in the way of true love.
That’s true even on Gamut’s relatively small stage, where it is frankly very easy for an actor to stand in someone else’s way. Typically, there would be a large chorus, a bustling ship full of sailors all going about their tasks (while singing, of course). That’s not feasible here, but obstacles breed innovation, observes Krumreig, who is delighted at the challenge of working with a smaller cast.
Another unique challenge? In a theatre without an orchestra pit, where should the musicians sit? Krumreig and musical director Nick Werner decided it would be fun for the audience if they put the five-musician ensemble above and behind the main action of the show—on the upper level of the stage. They then designed a monitoring system to allow the singers to see the conductor without having to spend the show looking over their shoulders.
“Nick Werner is a fantastic collaborator,” Krumreig said. “He really understands the style and is just wonderful to work with.”
All this might seem like a lot of goings-on, but it’s all behind the scenes, and what the audience will see is a short, sweet and to the point (two hours including intermission) spun-sugar concoction of a show filled with familiar music and the joy of happy-ever-after. And that’s just how Krumreig likes it.
“My goal in my artistic life is to keep operetta alive and relevant,” he said quietly but firmly. “By people coming to this production, it lets me know I’m doing my job. I want people to know that these shows are fun and everyone can enjoy them.”
“I promise,” he added, “you’ll have a good time.”
“Gilbert and Sullivan’s H.M.S. Pinafore” runs Nov. 18 to Dec. 3 at Gamut Theatre, 15 N. 4th St., Harrisburg. Fun fact? Opening night is W. S. Gilbert’s 187th birthday. For more information and tickets, visit www.gamuttheatre.org/hms-pinafore or phone 717 238 4111.
UPCOMING EVENTS
At Gamut Theatre
www.gamuttheatre.org
717-238-4111
TMI Improv
Nov. 10 at 7:30 p.m.
Gilbert & Sullivan’s “H.M.S. Pinafore”
Nov. 18 to Dec. 3
Nov. 18, 25, Dec. 1, 2 at 7:30 p.m.
Nov. 19, 25, 26, Dec. 3 at 2:30 p.m.
At Open Stage
www.openstagehbg.com
717-232-6736
Mrs. Kasha Davis
“There’s Always Room for a Cocktail!”
The “RuPaul Drag Race” Kindness Queen
Comes to Harrisburg
Saturday, Nov. 4 at 7:30 p.m.
EFF Live!
Erotic fan fiction readings
Friday, Nov. 10 at 7:30 p.m.
Black NewsBeat
With Dr. Kimeka Campbell
Join us in the live studio audience
Wednesday, Nov. 8 & Friday, Nov. 17 at 7:30 p.m.
“Who’s Holiday!”
Cindy Lou is back in this irreverent comedy
Nov. 25 to Dec. 22
“A Christmas Carol”
Scrooge’s ghostly holiday adventure returns
Dec. 2 to 23
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