Pirates of Penzance was well staged

FOR sheer fun, it's hard to beat one of Gilbert and Sullivan's comic operas. Written in the century before last, their humour is timeless and the basic plots are open to endless re-interpretation. The slightly updated version of The Pirates of Penzance presented by the students of St Jarlath's College and the Mercy Secondary School at the weekend opened with as colourful a cast of pirates as you could wish for, and the satirical wit of the lyrics was reflected in their costumes, right down to the young pirate with the swimming floats on his arms. The simple but effective set in the opening scene was dominated by the pirate ship, a marvellous construction complete with cannon at the bow, and large treasure island maps made versatile backdrops and wings. The story is well known â€â€ Frederic, the unwilling pirate burdened with an overwhelming sense of duty, has completed his term of indenture and is now free to leave the band of kind-hearted pirates who fail to make piracy pay because of their tender-heartedness. He meets the beautiful Mabel, daughter of Major-General Stanley, along with her many sisters, and naturally they fall in love. Driven by his sense of duty (the musical is sub-titled 'The slave of duty') he is determined to exterminate his former companions, but a complication arises. He was born on February 29, and as his indenture states that he can leave on his 21st birthday, it will now be 1940 before he is free. However, Mabel pledges to wait for him. It's not the story that matters any more in Gilbert and Sullivan, it's how you tell it. Producer Ronan Lardner and musical director Shane Farrell put together a polished show which made good use of the stage, and in particular of the trapdoor which I had forgotten existed. It was very effective in conveying pirates and policemen on and off the stage, and the latter were a highlight of the second act. A more incompetent set of bobbies has hardly ever graced a production of the Pirates, and their sergeant, played by Patrick Ryan, appeared to be double-jointed as he waved his limbs in the most cartoon-like fashion. His counterpart, the Pirate King, (Brad Anderson) was clearly modelled on Captain Jack Sparrow, and fitted the part handsomely. Frederic, the romantic lead, was nicely played by Liam Murphy, who took on the role of an infuriatingly dutiful young man with aplomb. Vital to this part of the show is the person whose hardness of hearing made Frederic an apprentice to a pirate, as opposed to a pilot. This is his nurse, Ruth, very nicely rendered by Roisin Broderick, who brought a really believable maturity to the role. A huge weight hangs on Mabel, who gets some of the show's loveliest music, and needs quite a voice to carry it. Hannah Rhatigan was more than up to the task, and moved and sang beautifully. Another significant role is that of the Major General, and Seán O'Boyle brought an astonishing physical energy to it. Not only did he have to achieve the marathon 'Modern Major General' song, but the Tom Lehrer-composed Periodic Table in addition, which was quite a feat. In the other name parts, Kevin Brennan as Samuel, and Jacqueline Donnellan, Méabh Sheridan and Jordan McPhillips as Kate, Edith and Isabel acquitted themselves well. So did the ladies and gentlemen of the chorus, drilled by Connie Burke, Clare Keville and John Duggan. For fun, eminently singable music and a chance for very many students to enjoy the stage experience, whether as a lead or a member of the chorus, Gilbert and Sullivan is ideal for school shows â€â€ and adult performances too. Well done to St Jarlath's and the Mercy for going back to their musical roots. â€â€ DB