‘Pirates’ high on comedy, low on clarity

Tom Titus

Every so often, one local theater or another revives that most

celebrated of Gilbert and Sullivan musical comedies, “The Pirates of

Penzance,” to demonstrate to their audiences what theatergoers on the

other side of the pond chuckled at more than a century ago.

Currently, that mission has fallen to the Huntington Beach

Playhouse, which has mounted a colorful and highly comical rendition

of the G&S; satirical piece, which leans heavily on an Englishman’s

sense of duty. It’s enjoyable but would be much more so if the lyrics

were presented more clearly.

Whether musical director David Diiorio or the Library Theater’s

sound system bears the ultimate responsibility for this lack of

clarity is a tossup, but W.S. Gilbert’s words are equally as potent

as Arthur Sullivan’s music and should be readily understood, since

they gleefully skewer the social establishment in Victorian England.

Perhaps the answer would be face microphones on the principal

singers -- particularly Keith Michael Quinn-Murphy, whose first-act

solo, “I Am the Very Model of a Modern Major General,” missed its

target. The singer’s words could not be comprehended, at least in the

rear rows of the theater. This is an actor-singer’s dream number and

must be delivered impeccably.

Otherwise, director-choreographer Larry Watts has mounted a

splendid revival featuring strong characterizations and inventive

comic byplay, particularly among the pirates (many of whom seem far

too young to put out to sea) and the general’s half-dozen daughters

(also quite youthful, but charming).

The big Kahuna of any production of this show is the pirate king

and Brandon Ibanez takes this role and devours it whole. Ibanez,

bearing a strong resemblance to another pirate of recent vintage

(Johnny Depp), thoroughly commits to the style of egregious

overplaying that could draw sour glances in just about any other

show, but is ideal in this one.

Noah Buffett is properly staunch and naive as Frederic, the young

man apprenticed to the buccaneers as a child when his hard-of-hearing

nurse thought his father wanted him to be a pirate -- he’d actually

said “pilot.” The same sort of verbal silliness is tossed about with

the words “orphan” and “often.”

As Mabel, whose beauty must be exceeded by her vocal range, Katie

Dixon fills the bill on both accounts, bouncing her high soprano

stylings off the rear wall of the theater. No problem with clarity

here.

Lois Bourgon as the middle-aged, maid-of-all-work Ruth is quite

delightful, particularly in the second act when she sheds her drab

pirate garb for a more colorful costume and flowing blond locks.

Quinn-Murphy’s major general is effective as a trembling shell of a

military chieftain.

Although six actors are credited with doubling as pirates and

policemen, only three filled the constabulary roles on opening night,

headed by Stephen Amundsen as the high-stepping sergeant.

The outdoor settings, designed by Andrew Otero, are among the most

impressive yet presented by the playhouse and provide an excellent

backdrop for David M. Carleen’s lighting and Tom Phillips’ costumes.

The recorded musical accompaniment by Diiorio is also quite well

done.

Color and comedy prevail in the Huntington Beach production, but

clarity has some catching up to do and could quite possibly do so

over the next two weekends.

* TOM TITUS reviews local theater for the Independent.