The Pirates of Penzance
Written by Gilbert and Sullivan
Directed by Sean Graney
at Chopin Theatre, 1543 W. Division (map)
thru Jan 22 | tickets: $28 | more info
Check for half-price tickets
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Sailing on a sea of absurdity
The Hypocrites presents
The Pirates of Penzance
Review by Keith Ecker
Theatre is very often boring. It’s an art form I love, and I will be the first person to coerce my friends, acquaintances and random strangers to go support live theater. But after you’ve seen dozens of plays, from Shakespearean dramas to contemporary comedies to contemporary comedies that deconstruct Shakespearean dramas, that high that live performance once elicited becomes much more difficult to achieve. You know you’ve hit rock bottom when you find yourself listening to the best of Sondheim just to function.
I have never seen a traditional production of the opera, so I can’t say how far The Hypocrites have veered from the status quo. However, I doubt that the original 1879 debut—or for that matter any production since—has incorporated short shorts, ukuleles and beach balls. The Hypocrites rely on these items in spades, creating a stylistically whimsical retelling of the brilliant musical comedy.
The opera centers on young Frederic (Zeke Sulkes), an apprentice to a fleet of merry pirates. Frederic has never encountered a woman, and so, when he rests his eyes on the homely Ruth (Christine Stulik), he does not have the point of reference to identify her ugliness. He soon realizes the mistake he has made when he comes upon a group of pretty maidens (Dana Omar, Emily Casey, Lindsey Gavel and Christine Stulik as Mabel).
The daughters are the children of Major General Stanley (Matt Kahler), a detail that becomes a point of contention when the pirates sweep in to claim the girls as their wives. The Major General appeals to the pirates’ emotions by claiming to be an orphan. Touched, the sensitive band of marauders decides to make the Major General and his daughters honorary members of their fleet.
Despite the many quirks that The Hypocrites bring to the opera, the production retains all the charm that made Gilbert and Sullivan such beloved luminaries of contemporary musical theater. The snappy comedy, the witty dialog and the clever turns of plot are all here. Melodrama and vaudevillian panache are milked to great effect. But layered on top is a uniform kitschy aesthetic that permeates the entire production, providing a wholly unique ambience that is infectiously delightful. With the strings of lights overhead, the downstairs Chopin Theatre space, which typically takes on the feel of a dank cave, is transformed into a veritable luau.
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The performers are the stars of the show. This is a tight cast of incredible talent. Not only do they all have a solid sense of comedic timing, but also they are instrumental and vocal powerhouses. From stunning acapella work to tight arrangements (care of artistic associate Kevin O’Donnell), this zany production is serious about its high level of musicality.
Director Sean Graney did an incredible job orchestrating a production of this size in such a small space. Audience members are free to sit anywhere and move about the theater, which for any other production would sound like an accident waiting to happen. But here, the cast and crew are so highly organized that they are able to seamlessly move from mark to mark while avoiding onlookers.
If you want to see some invigorating theatre, go see The Hypocrites‘ The Pirates of Penzance. The production reaffirms that theater has no rules or boundaries, quite literally, as the cast and audience mesh into one. And as a theater critic, it really is refreshing to be able to say I have seen something I have never seen before.
Rating: ★★★½
The Pirates of Penzance continues through January 22nd at the Chopin Theatre, 1543 W. Division (map), with performances Thursdays thru Saturdays at 7:30pm, Sundays at 3pm. Tickets are $28, and are available by phone (773-989-7352) or online at Tix.com (check for half-price tickets at Goldstar.com). More information at the-hypocrites.com.
All photos by Matthew Gregory Hollis