“… a raucous multi-layered masterpiece … an excellent night out.”
Alethea Mouhtouris
4.5 Ships ahoy!
Venue : The Foundry Theatre (at The Star)
Sydney
Dates: Until 7th June 2026
It’s clever. It’s chaotic. It’s laugh-out-loud funny. And it’s unforgettable. The Hayes production of Pirates of Penzance dazzles, with a cast of five who deftly switch between characters and costumes.
It takes skill and vision to transform the classic Gilbert and Sullivan operetta into a production that’s accessible to new audiences with no knowledge of the original. A worthy homage to the spirit of the 1870s version – a sort of piracy of a play about pirates – it absorbs the essence of the original while delivering something that’s fresh, imaginative, and relevant.
The show focuses on young Frederic, indentured to the Pirate King until his 21st birthday. But when he turns 21 and is overjoyed to be free, a paradox in his birth date means he must serve another 63 years.
Maxwell Simon is a perfect fit for Frederic, playing him like a wayward animated Disney male lead. Think Flynn Rider from Tangled – dashing, silly, smouldering, with immaculate hair a la Harry Styles. Simon flings his character around like a dance partner, switching from temper tantrum juvenile pirate to a strong and manly ‘gentleman’ he believes he can become. And he switches his voice accordingly, from juvenile – “I’m FIVE!” – to deep and sexy with his newfound love Mabel.
Britannie Shipway is another superb performer playing dual roles. As Cockney nursemaid Ruth, she is common, coarse, well past her prime.. And as young ingenue Mabel, she’s sweet, innocent, yet fierce and ready to fight for love. Shipway’s voice is multi-faceted and her range is extraordinary; she can easily switch between elegant opera and raucous down and dirty to reflect her desire for Frederic.
For me, it’s Jonathan Holmes who steals the show. As the musical director and The Major-General, he plays the piano with mastery and humour, playing even while the piano is rolled across the stage with him still sitting at it. He has a brilliant sense of comedic timing. His rendition of I Am The Very Model of a Modern Major-General is incomparable – it’s a demanding song to sing at the best of times yet Holmes conquers it with skill and personality.
Sarah Murr plays, among other characters, the bearded Barry Mundi as well as the Police Constable, where she flings off her black coat and gives an unexpectedly spicy turn as a saucy corset-and-frilly-pantaloon clad nightclub singer. That is a scene stealer.
As always, theatre mainstay Jay Laga’aia brings command and presence to the stage. In the role of The Pirate King, he is strong yet soft, fierce yet tender; as the Chief Constable, he is very Keystone cops; as one of the demure maidens during the fan sequence, he is hilarious.
Director and Adaptor Richard Carroll is to be congratulated for his vision with this production. He has taken a much-loved but old-fashioned piece of art and created a raucous multi-layered masterpiece. He has captured the essence and intent of the original. This production exceeded my expectations. Not previously exposed to Gilbert and Sullivan, to me Pirates of Penzance always seemed twee and part of another world. This was far from twee, and never boring. Even my companion – renowned for napping during shows – was alert and engaged the entire time.
Set designer Nick Fry has created magic. The Foundry Theatre is wider but shallower in size than the Hayes where this originated so the set looks like a seascape panorama. The shades of the paintwork result in an antique seaglass look when photographed; it’s quite extraordinary.
This is one of those shows that demands a second viewing (at least), not only to enjoy the fun again but to capture subtleties that escaped attention the first time. Like the unexpected nipple cripple. The shenanigans taking place quietly on one side of the stage – causing that part of the on-set audience to dissolve into laughter – while most of the audience was paying attention to the main action on the other side. The casual tinkles on the piano from a character leaning against it, adding to the atmosphere of the scene. So much is happening on the stage at any given point that it’s easy to miss some elements.
It’s an excellent night out. Don’t miss this.
Photo credit: John McRae
Alethea Mouhtouris, Theatre Now
