The Pirates of Penzance
- Robert Beale
- 1 day ago
- 2 min read
Gilbert & Sullivan
National Gilbert & Sullivan Opera Company
Buxton Opera House
August 2,8,12,15, 2026: 2 hrs 5 mins
John Savournin is a busy man. Performer, artistic director of both Charles Court Opera in London and the Waterperry Festival near Oxford, he saw his Scottish Opera/Opera Holland Park production of Lehar’s The Merry Widow revived as one of the flagship shows at the Buxton International Festival only a few weeks ago – and here he is again as director of The Pirates of Penzance, for the International Gilbert & Sullivan Festival.
Savournin directed Pirates for the festival back in 2013, and I think there are a few reminiscences of that version here (the opening banquet to celebrate pirate apprentice Frederic coming out of his indentures, for a start). He’s done it for Opera Holland Park more recently, and his singer for piratical maid-of-all-work Ruth is none other than Yvonne Howard, who sang Ruth for him then – her RNCM training and magnificent Opera North track record ample recommendation for those who follow the field.
His Major-General Stanley is Simon Butteriss – the very model of a modern comic baritone in G&S (it is he, the military owner of a country seat plus chapel with “ancestors” simultaneously acquired by purchase, whose daughters attract the attentions of the pirate crew). He rattles off his patter songs with all the alacrity of long experience and lends the character suitably doddery charm.
The role of Pirate King (one Savournin played in former times) is in the capable hands of Ben McAteer – also the festival’s Captain Corcoran in HMS Pinafore and the Mikado in The Mikado. He has the presence, the resonance and diction the role demands. Paul Sheehan, also in the Pinafore cast list, is Samuel, his lieutenant; and Mark Saberton (Dick Deadeye in Pinafore) plays the Sergeant of Police
Youth will have its fling in most International G&S Festival productions, and in Alex Aldren we have a young man with a rich and flexible tenor voice and appealing stage demeanour as Frederic. Camilla Kerslake is Mabel, the Stanley girl who falls for Frederic, and soars through the coloratura with ease. Grace O’Malley (Edith) teams well with her.
There’s plenty of dancing (choreography Merry Holden and Sarah Storer) and business for the chorus in this production: “When the foeman bares his steel” - one of the best numbers – allows the excellent chorus to prove its worth vocally many times, particularly in the stentorian “Hail Poetry!”.
Credit for the musical quality of the show must largely go to conductor James Hendry, whose gift for creating and relaxing tensions within the four-square confines of Sullivan’s writing, and unlocking the Romantic feeling of his best melodies, is uncanny. He obtains some excellent ensemble work in the Paradox Trio and “Away, away!”
More info and tickets here
