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Broadway’s “Pirates! The Penzance Musical”: A Colorful Revival Set in New Orleans

David Hyde Pierce, renowned for his distinctive performances, brings his unique charm to the role of Major-General in the latest revival of “The Pirates of Penzance,” now titled “Pirates! The Penzance Musical.” This new adaptation, which premiered on Thursday at the Todd Haimes Theatre, transports the classic operetta to the vibrant backdrop of New Orleans, infusing it with fresh energy and creativity. While retaining core elements of the original, the musical cleverly incorporates a selection of songs from various Gilbert & Sullivan works, offering a delightful twist to audiences familiar with the classics.

A standout moment early in the production is Hyde Pierce’s delivery of “I Am the Very Model of a Modern Major-General.” This piece transforms into a comedic highlight, showcasing his impeccable timing and vocal dexterity as he navigates the rapid-fire lyrics flawlessly. The exuberance is heightened by Scott Ellis’ dynamic direction and Warren Carlyle’s punchy choreography, which features a lively flag-waving chorus that amplifies the infectious enthusiasm of the number.

Nicholas Barasch, portraying Frederic, presents a commendable performance as the young romantic lead, despite the character’s less prominent comedic role. Barasch’s depiction of Frederic parodies the fey Irish tenor archetype, capturing both humor and charm while managing to gain applause throughout. Although the revival does not utilize its original subtitle, “The Slave of Duty,” Barasch subtly weaves its essence into his portrayal, reflecting Frederic’s unwavering adherence to the absurdities of duty.

Rupert Holmes, adapting the musical’s book, effectively relocates the narrative to the 1880s in New Orleans. The show opens with a clever introduction featuring the infamous duo of Arthur Sullivan and William S. Gilbert, played by Preston Truman Boyd and Hyde Pierce, who humorously explain their decision to present their latest work outside of Broadway. The adaptation flows with vigorous energy, including a lively rendition of “Good Morning” from “Iolanthe” and a powerful performance of “I Am the Pirate King” by Ramin Karimloo, setting the stage for a rich theatrical experience.

While Kevin Kline’s portrayal in the 1981 revival remains iconic, Karimloo showcases a vocal strength that surpasses his predecessor, yet he sometimes struggles with the comedic elements required for the role. His performance, although exuberant, borders on overwhelming, leaving some audience members yearning for a lighter touch as he navigates a balance between heroism and humor.

Jinkx Monsoon, stepping into the role of Ruth, brings a vibrant flair to the character, showcasing her comedic prowess. However, her performance, while entertaining, may not fully ignite the fervor expected from the character’s whimsical ambitions. Samantha Williams, as Mabel, presents a contemporary interpretation that diverges from traditional expectations, exhibiting a spirited presence but occasionally veering into stridency, emblematic of modern adaptations of classic roles.

The first act climaxes with a light-hearted acknowledgment from the Major-General regarding the need for an exuberant production number, leading to a spirited rendition of “We Sail the Ocean Blue” from “HMS Pinafore.” This playful interjection adds a layer of homage to Gilbert & Sullivan’s legacy, yet raises expectations for the unfolding narrative.

However, as the second act commences, the use of “The Nightmare Song” from “Iolanthe” leaves some viewers puzzled until familiar territory is regained with “A Paradox,” demonstrating a fine balance of talent among Karimloo, Monsoon, and Barasch as they deliver the piece with striking creativity.

The musical concludes with a reimagined version of “He Is an Englishman,” now titled “We’re All From Someplace Else.” This ending serves as a heartfelt tribute to immigrants, albeit highlighting a disconnect between earnest intentions and the overall entertainment value of the production.

Ultimately, while “Pirates! The Penzance Musical” offers a colorful and ambitious reinterpretation of a beloved classic, the execution sometimes falters in delivering sustained engagement, posing the question of whether goodwill alone can transform a performance into an unforgettable experience.

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