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...authority? The pirates of W.S. Gilbert and Arthur Sullivan’s “The Pirates of Penzance”—which runs through May 2 at the Agassiz Theatre—share a radically different defining characteristic: profoundly patriotic monarchism. As they sing in the show, “With all our faults, we love our Queen.” Faults or no, the irresistible energy of the cast makes “The Pirates of Penzance” one lovable show...
Considering the relative smallness of his role, the Sergeant of Police (Philipp W. Grimm ’11) is the biggest surprise of the show. Grimm’s Chaplin-esque strut and alternatively glazed and manic eyes make his Sergeant absolutely aloof but somehow loveable. He heads up a police corps that proves just as memorable as the pirates themselves...
...gentle beginning to an adventurous final section, underscored by a mood of light cheer. The entire production is an outgrowth of this delightful music, and the orchestra’s vigorous playing and professional—yet relaxed—attitude make them an integral part of the show. When “Pirates” is at its best, it feels more like a musical celebration than an opera...
...show may not charm all equally. Gilbert and Sullivan’s humor is invested in pun and wordplay, a mixture of high-brow and slapstick that may stray too far in either direction for some. The sheer length of the play means the performers are up against the task of sustaining a frenetic pace set by the vigor of Mabel and the Major-General’s introductions. Yet, the constant introduction of new characters and the performers’ unfailing energy generally meet that challenge...
...warned, there are major changes to come during the second half of the musical. According to Reddout, the show will take a darker turn when the consequences of the actions in the first half are made visible and culminate in a series of events that sometimes literally crushes the dreams of the characters...