The Pirates of Penzance - The Gilbert & Sullivan Society of WA

Reviewed by Kate O'Sullivan

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Few works in the Gilbert and Sullivan catalogue have stood the test of time quite like The Pirates of Penzance*. Packed with witty wordplay, catchy melodies and plenty of gloriously ridiculous logic, it's easy to see why audiences keep coming back to it. The Gilbert & Sullivan Society of WA's latest production at Dolphin Theatre embraces the show's charm, delivering an entertaining evening full of humour, strong performances and some impressive ensemble work.

The production looks great. The set strikes a nice balance between simplicity and detail, creating a clear sense of place without getting in the way of the action. It's a reminder that effective design doesn't always need to be complicated. The lighting generally supports the storytelling well, although there are a few spots on stage where performers occasionally drift out of the wash. It's a minor issue and one that could easily be ironed out as the season continues.

Costumes are also well judged for most of the show, helping to establish the period and the playful tone of the piece. The one exception comes right at the end, where the addition of crowns etc feels a little unnecessary. Rather than adding to the spectacle, they come across as slightly cumbersome and distract from the performers at a point when the story should really be taking centre stage.

One of the production's biggest strengths is its choreography. The movement is clean, well rehearsed and pitched appropriately to the abilities of the cast. The result is a series of ensemble numbers that feel confident and engaging. In fact, it's some of the strongest choreography this reviewer has seen from the company in recent years. When everyone is working together with the same level of energy and commitment, the ensemble scenes really shine.

Performance-wise, Ruth (Belinda Butler) and the Major General (Justin Freind) are clear standouts. Both lean comfortably into the show's tongue-in-cheek humour, bringing plenty of personality and energy to their roles. Justin's comic timing is particularly effective, while Belinda delivers her dialogue and lyrics with a clarity that proves invaluable throughout the evening. Mabel (Magda Lisek) is also a strong presence, particularly in her musical numbers, although some diction issues occasionally make her lyrics difficult to catch. The Pirate King (Samual Claxton) and Frederic (Jacob Correia) both do solid work, although could afford to embrace the theatricality of some of the other leads.

Unfortunately, diction is one of the production's main challenges overall. Gilbert's humour relies heavily on the audience understanding the words, and there are several moments where lyrics become difficult to follow, particularly among some of the female voices. Audience members familiar with the score will likely fill in the gaps, but those seeing Pirates for the first time may find themselves missing parts of the story.

The orchestra plays enthusiastically and capably throughout, but the positioning of the band in front of the stage sometimes creates balance issues. Brass and woodwind lines can occasionally overpower the singers, making both lyrics and melodic lines harder to hear. Some additional amplification for selected performers may have helped address this, or some general stage microphones to support the balance.

There are also a handful of moments where individual ensemble members appear keen to pull focus. Community theatre thrives on strong character choices, but Pirates works best when everyone is serving the scene rather than competing for attention. When the cast finds that balance, the show's ensemble work is genuinely delightful.

The Gilbert & Sullivan Society WA continues to bringing warmth, humour and enthusiasm to these classic operettas. This production is no exception. While a few technical and performance tweaks would help sharpen the overall result, The Pirates of Penzance remains an enjoyable, funny and often charming night at the theatre, buoyed by strong lead performances and a clear affection for the material.

Image credit: Kaylene Taylor

Reviewer Note: Tickets for this review were provided by the theatre company