Review: Essgee's Pirates of Penzance
Picture : Savoyards promotional image (NOT a Creative Futures Photography image).
Essgee Entertainment’s 1994 ‘poperetta’ version of Gilbert and Sullivan’s Victorian-era comic opera The Pirates of Penzance, is a crowd favourite. A story of The Pirate King (Jordan Ross), and his indentured apprentice, Frederic (Oliver King), which features themes of romance, desire, treasure, duty and honour—replete with sentimental pirates, a Keystone Cops-style group of bumbling police, and lots of dutiful daughters. The much-loved Gilbert and Sullivan arias are firmly in place, but the asides, choreography, and orchestrations have a more contemporary spin. For example, Mabel’s sisters—Edith (Anna Roche-Kelly), Kate (Ashlin Cork), and Isobel (Constanza Acevedo Burckhardt)—are cast as ‘The Fabulous Singlettes,’ who perform more in the style of 1960s pop trios. In the Savoyard’s production, the Singlettes are the core of a larger women’s chorus, making this perfect for a community musical theatre group that can call on a large ensemble.*
The Savoyards audience is spoilt with the superb vocals of the main leads—particularly the soring soprano notes of Katelyn Suschinsky (Mabel), the lyric tenor tones of Oliver King, the clear contralto of Meg Kiddle (Ruth), and the fabulous bass-baritone of Jordan Ross. In addition to the excellent curtain call 1994 “we’re not finished yet’ reprise of the key songs, I particularly enjoyed every single one of The Pirate King pieces, the second Act Paradox, Stay, Frederic, Stay!, and Now for the Pirates' Lair! numbers.
The choreography and work by the dance ensemble** are outstanding (Julianne Burke, Choreographer, with Assistant Choreographer Caley Munroe). I loved every moment of the dancing police numbers (led by Sergeant Of Police, Graham Colenutt), particularly their entertaining When a Felon's Not Engaged in his Employment, but the performing pirates are equally impressive. Nicky Griffith, as Musical Director, delivers what must be the best concert by a Savoyards orchestra that I have ever heard. And the Director (David Harrison, supported by Assistant Director Joshua Moore) has managed to wrangle a large cast to deliver a show that is funny, beautifully staged, and a joy to watch.
Just on the staging, I was delighted that the Director had decided to work with a minimal set, ensuring that the changes between scenes were quick, and there was ample space for the excellent choreography. The light curtain in front of the orchestra was a suitable screen for the brightly coloured ‘ship’ and later building backdrop, and was beautifully lit (Gabrielle Burton, Lighting Design)—making a perfect setting for the charming wigs and costumes (teams led by Lynne Swain and Kim Heslewood).
Watching the show on the opening night, it was clear to see that the cast had enjoyed working on this show. The ‘bedroom scene,’ was enlivened with the pirates hiding in plain sight to create the bedroom furniture. The pirate and police numbers were so enjoyable to watch. And the amping up the sass of the Singlettes, portraying a Mabel who is as feisty as she is dutiful, and the glorious version of The Pirate King really added to the enjoyment of the evening. Congratulations also to Major-General Warren James who has mastered the crowd-pleasing tongue-twisting and fast number, I Am the Very Model of a Modern Major-General.
Interestingly, Savoyards only has two evening performances of this production, on the opening and closing nights, as the rest of the run is across 5 matinees. It will be impressive to see the Auslan interpreters at work at the 3rdOctober matinee, as this show is very text heavy (particularly with the speedy I Am the Very Model of a Modern Major-General). Unfortunately the sound design again let the cast and audience down, as it was often difficult to hear many of the words when the sound balance between the orchestra, lead vocalists and chorus was often poor. I do wonder if this show would have been better without any amplification, as the lead vocalists were clearly up to the challenge of working without microphones, and this might have given us all a better experience—particularly when we do need to hear the witty Gilbert and Sullivan lyrics. As this appears to be a recurrent issue, perhaps it’s time for the Savoyards team to review the use of the sound systems and available technology.
If you are not familiar with Essgee's Pirates of Penzance I recommend the Savoyards production. It’s a funny, well-staged, beautifully choreographed, musically strong, and impressively directed performance by an enthusiastic (and large) musical theatre community group. Just be warned that you may not hear all the words.
Audience information: Essgee's Pirates of Penzance (26 September-10 October), IONA Performing Arts Centre, 85 North Rd, Lindum QLD 4178. 155 minutes, including a 20-minute interval. All ages. Some bright lights, haze, and loud music. Tickets $35-58, or $149 family tickets (2 adults & 2 children), all ticket prices plus $1.45 processing fee.
* Ensemble: Felicity Albrecht, Beth Allen, Katie Alsop, Serena Altea, Zoe Ballard, Margaret Barrett-Beck, Chloe Boike, Eliott Brown, Isaac Buckley, Eleanor Crosse, Kylah Davis, Lucas Hanlon, Josh Hatton, Kate Lockyer, Emma Longstaff, Aden Lowry, Simon Lyell, Elsa Matthias, Timothy Nielson, Dylan Noll, Louis Rose, Michael Saunders, and Madeleine Tafe. Plus Lachie Gleadhill as Samuel.
** Dance Ensemble: Grace Burke, Rebekah Collins, Bia Fontenelle, Kristan Ford, Anandi Jordaan, Reagan Lovett, Kyra Peters, Kylara Swain, Jess Thomson, and Jacqui Trappett.
Credits: By arrangement with David Spicer Productions, representing Simon Gallaher and Essgee Entertainment. Original Production Director and Choreographer Craig Shaefer. Orchestrations by Kevin Hocking. Additional Lyrics by Melvyn Morrow.
The reviewer attended the opening night performance (7:30pm, Saturday 26th September 2026).