Theater Online - New York Theater Reviews

Rosalie O'Connor ©2025  

The Holy Trinity for Gilbert & Sullivan fans!

Renowned for his "flair for dramatic ballet choreography," Artistic Director Francis Patrelle extracts the essence of three favorite Gilbert & Sullivan comic operas:  Pirates of Penzance, The Mikado and H.M.S. Pinafore. His choreography not only presents, but accents the influential and productive (and sometimes strained!) partnership of William S. Gilbert and Sir Arthur Sullivan as scene one opens on The Savoy Theater with our favorite English librettist and composer, played by Paul Penado and Duke Mitchell respectively, deliberating with producer Richard. D'Oyly Carte, played by Owen Taylor, about their upcoming performance of Pirates of Penzance. With swords and pirate hats sorted, the performance begins and at first glance, the novelty of pirates and ballet may have caused some to roll their eyes, but it soon became evident that the brooding, machismo of the Pirate King, played by John-Mark Owen, acted as a perfect vehicle for leaping across the stage in giant bounds, or spinning in the air as fast and wildly as a stay cannonball fired from a pirate ship on the rolling seas.

Rosalie O'Connor ©2025  

In essence, what this production does very well is distill the very formula for a good story and juxtapose the protagonist, antaganist, and everyone in between against a changing backdrop of marauding privateers, cautiously flirtatious Japanese lovers, and shakey-legged sea Admirals to emphasize one point constant throughout not only Gilbert & Sullivan operas, but echoed throughout history: romance conquers all. With this sole tenant binding the three stories, Patrelle could have effortless flitted from one plot to the other, mixing story lines here or rerouting character development there, but instead, and to his credit, he opts for the original and hilarious chronology of events with occasional interjections from Sullivan himself in an attempt to  keep the show running smoothly.

Indeed, there are times when the performance takes on a life of its own, perhaps a nod to the enduring success that even Gilbert & Sullivan were unaware they would produce. Actors seem to break character in the middle of a scene or fight it out over a new role back at the Savoy, occasionally leaving their creators helpless as they "steal the show" so to speak. And if this is the "credit where credit is due" type of salute to G&S, then it needs to be mentioned that Francis Patrelle and his team have managed something even they are unaware of.

Rosalie O'Connor ©2025  

If all these characters: the Pirate King,  Naki-Poo, Captain Corcoran, Buttercup, Yum-yum, etc., still feel as fresh and alive today as the day the were dreamt up, then this ballet manages to transcend the physical dancers and take on a dance of its own. It is a dance that carries Patrelle's signature flair that would be impossible to remove even if he tried. It is a by product of creative genius that something of the artist is left in the art.