As someone whose familiarity with the Gilbert and Sullivan catalogue consists entirely of an episode of the Simpsons and a song from Thoroughly Modern Millie, I am either a very good or very bad choice to review the famous all-male production of the Pirates of Penzance, currently playing at Wilton’s Music Hall in East London.

The staging is simple but effective, with a bare wooden stage quickly transformed into various scenes through the use of simple props, such as a broom doing duty as a horse or a sheet serving as the sea under a ship, and appropriate use of a projected backdrop. The costuming is equally sparse, with plain white being the order of the day. Characters are accented by touches of colour or particular accessories, but some additional vibrancy in the costumes would not have gone amiss given the venue itself is also quite bare, leaving the production with a washed-out feel at times. The choreography too, whilst simple and effective, could have benefited from some more animation, with the Modern Major General in particular being hamstrung by very static staging (although this does allow the audience to fully absorb David McKechnie’s excellent diction and rich baritone). The general stillness of the choreography is a slightly disappointing contrast with the dynamic energy of the opening number, and serves to lend the production a very “period” feel despite the subversive casting.

Nevertheless, the show is lively and consists of strong vocal performances throughout. The leads all present strong characters with excellent physicality, even if some of the female-presenting characters lost some vocal clarity when the range was particularly difficult for the male singers. This is perhaps to be expected from casting a vocally demanding operetta like this, but it nonetheless does detract slightly — particularly when coupled with the lack of amplification — from the lyrically complex score. Fortunately, the lyrical comedy is only a small part of the jokes on offer here, and there are numerous moments of physical comedy which land brilliantly, unhampered by any vocal issues.

The ensemble and supporting cast consisted of strong singers and actors throughout, with individual members bringing commendable energy and commitment to every scene. A particular standout for both his comic timing and exceptional vocal performance was Kiran Kaanan as Edith, whilst Patrick Cook effortlessly balanced coquettish cunning in the female roles with rambunctious energy as a pirate.

If you are used to the musical texture, tempo, and staging of popular west end shows, then it will take some time to acclimatise to the eccentricities of an operetta from 1879, which remain alive and well in this production (for all the purported radicalism of the all-male cast). However, if you can embrace the period British tomfoolery, then this production will provide plenty of laughs and even a genuinely moving moment or two.

Review by Alex Dehn

Pirates of Penzance is on at Wilton’s Music Hall until 23rd November. You can buy tickets and find out more here.

If you like this review you might also like my review of Brunch at The Musicals, Stranger Things the First Shadow and Guys & Dolls.