Gilbert and Sullivan’s evergreen enchantment, that is known as The Pirates of Penzance, rowdily seized the approval of the capacity audience at Opera Theatre of Saint Louis, and sustained an invigorating high-pitched pace throughout a roiling, rollicking evening’s entertainment.
Veteran conductor George Manahan clearly knows this material like no one else, and he led a shipshape, sprightly, and stylistically impeccable account of this beloved classic that found the assembled members of the Saint Louis Symphony under his baton in fine fettle indeed.
From the downbeat to the final chord, Maestro Manahan elicited superb ensemble work, along with exceptional solo playing that was invested with character and a playful glow. With all the musical excellence going on in the pit, the glittering music-making tumbled onto the stage as well, where top tier vocalism was always on ample display, including some rousing, polished ensemble work from Andrew Whitfield’s well tutored chorus.
While the cast of principals was uniformly impressive, Robert Mellon’s Major General Stanley was arguably the driving “force field” of the production. Talk about renewable energy! Forget about solar panels or wind turbines, Mr. Mellon could seemingly singlehandedly light up Greater Saint Louis. In an act of engaging piracy, he threatened to steal the spotlight every time he took the stage with his loose limbed, electrifying impersonation. The General’s entrance aria is undoubtedly the most famous patter song in the world, and Mellon fiercely and fearlessly commanded the material, firing on all cylinders. That he playfully encored a chorus at an incredibly roughshod speed, was rewarded with a boisterous ovation in an evening that was rife with them. But Robert was not just bombastic bluster; he often treated us to his rolling baritone caressing legato passages with poise and sheen. He was not alone in his giddy success.
As the Pirate King, William Socolof seemed to be channeling the endearingly fey menace of Jack Sparrow from another Pirates entertainment. His King exuded consistent unctuous charm, reinforced by fluid, fleet footed movement, and wily posturing with his supple, swivel-hipped torso. Mr. Socolof’s well-focused, incisive baritone was capable of conveying suitable menace at will, but his roaring lion was more a paper tiger. His winning vocal coloring, witty phrasing, and commanding stage presence gave much pleasure.
Daniel Luis Espinal was all one could wish for as the naïve, lovestruck, duty bound lad, Frederic. He is boyishly appealing and sports a shining, freely produced, alluring tenor that gleams in all registers and volumes. Mr. Espinal is also uninhibited in his stage antics, and a willing player in the hijinks that are required of him, including admirable participation in the copious choreography. His Mabel, Jana McIntyre captured our hearts from her very first phrase and never let go, her easy, flawlessly produced lyric soprano a consistent joy. Ms. McIntyre treated us to limpid, stratospherice phrases that were laced with unearthly beauty, and while her voice had equal appeal throughout the range, she could also put some real fire in the delvery when warranted. I especially liked the sly interpolation of melismas from Sempre libera in the cadenzas of Poor Wandering One. Together and singly, Espinal and McIntyre were memorably a force to be reckoned with.
Meredith Arwady’s clarion contralto didn’t just nail the role of Ruth, she pulverized it. Few produce a sound that distinctive and enveloping and Ms. Arawady reveled in its easy potency. The committed brashness of her characterization matched her assured singing. She is clearly having the time of her life, and it is irresistibly infectious. Her impassioned, extended wail at the end of Act I had the power of an amusing “All Clear” alert! This was a unique and commendable role assumption.
Shyheim Selvan Hinnant was a lean and lanky Sergeant of Police, his suave, attractive bass-baritone tumbling out with effortless mellifluous delivery. Mr. Hinnant also proved to be a jaunty comedian. Joseph O’Shea was an uncommonly fine Samuel, thanks to a wiry, purposeful stage presence, and his pulsing, burnished baritone. Saane Aziza Halaholo lent her lush, sizable soprano to the role of Edith; Kim Stanish’s Kate was well served by her substantial, mezzo; and Shiyu Zhuo was a joy as Isabel, with her pert demeanor and captivating soprano.
This my third encounter reviewing this version of Pirates, having been at the produciton’s premier, and also having experienced it two seasons ago at the Glimmerglass Festival. Time has not faded its many glories. James Schuette’s fanciful set design still makes for a jolly playing environment, what with that massive rolling pirate ship, and those portentous yet gaily floating gravestones. Mr. Schuette’s costumes remain a model cornucopia of eye-popping, joyous musical comedy design.
Cheyenne Sykes has provided a pleasing lighting design, the sunny washes of Act I morphing effectively into the tongue-in-cheek blue moodiness of Act II, and back again in time for a happy ending. Sykes also deployed some lovely isolated specials that highlighted key moments such as the Act II duet for Frederic and Mabel. Krystal Balleza and Will Vicari’s fun-loving hair and make-up design ensure the look was still “delectably waggish and wig-ish.”
It bears repeating that Seán Curran’s masterful direction and sprightly choreography were up to his usual widely admired standard. Mr. Curran knows this piece in and out by now, and it shows. It is not easy to have the staging be this busy and this clean. But the synchronized gestures, imaginative business, well-modulated transitions between set pieces, and well coordinated crowd control were notable for their faultlessly rehearsed accuracy and inspired invention. The penguin-waddling Keystone Kops evoked by the policemen’s chorus remain a highlight, especially goofy and well-coordinated. I wrote in an earlier review that if the moderately stilted declamatory style of the spoken lines, with plentiful trilled “rrrrrrrrrrr’s” sometimes verged on a hint of prosciutto crudo, there is no doubt that the enthusiastic audience was eating it all up like a succulent “ham on wry.”
This iteration of The Pirates of Penzance looks as fresh and sassy as the day of its premiere. It has been lovingly recreated and cast with utmost success, and has returned home to OTSL in triumph. The music is radiant, the production values are world class, and there is a star quality emanating from each and every performer. See it before the (pirate) ship has sailed!
James Sohre
The Pirates of Penzance
Music by Arthur Sullivan
Libretto by W.S. Gilbert
Cast and Production Staff:
Samuel: Joseph O’Shea; Pirate King: William Socolof; Frederic: Daniel Luis Espinal; Ruth: Meredith Arwady; Edith: Saane Aziza Halaholo; Kate: Kim Stanish; Isabel: Shiyu Zhuo; Mabel: Jana McIntyre; Major-General Stanley: Robert Mellon; Sergeant of Police: Shyheim Selvan Hinnant.
Conductor: George Manahan; Director and Choreographer: Seán Curran; Set and Costume Designer: James Schuette; Lighting Designer: Cheyenne Sykes; Wig and Makeup Designers: Krystal Balleza, Will Vicari; Chorus Master: Andrew Whtfield.
All photos © Eric Woolsey