Writer: W.S. Gilbert and Arthur Sullivan
Director: Sasha Regan
Really, we’ve been too long without a tour of Sasha Regan’s vibrant production of H.M.S. Pinafore. Last seen all the way back in 2016, the show has been an audience favourite wherever it has gone. This new iteration keeps the charming elements that made it great, and if anything adds a touch more energy and playfulness to the performance.
Presented as a play within a play, the production sees the crew of a WWII warship strike up an entertainment to stave off the below deck boredom. Ransacking the supply closets provides makeshift costumes, and roles are allotted for the lads who will play the ladies. When they start, they veer quickly and seamlessly from heady shipbound masculinity (all ropes and muscles) to high pitched femininity and tight dance routines. It retains a certain amount of playfulness. Just enough to remember they’re a group of friends entertaining themselves but nowhere near enough to take us out of the turbulent and rich story of gallant captain’s daughters, lowly tars, over-promoted Sea Lords and negligent wet-nurses.
It’s the G&S operetta most baldly targeted at the Victorian’s class obsession, with some classic songs that form the focal peaks of the night. David McKechnie (a returning cast member from previous tours) is a tremendous Sir Joseph Porter K.C.B. and his performance of When I Was A Lad is a fantastic version of the song. As Captain Corcoran, Juan Jackson stands out as the most dangerous among a cast full of triple threats. Comic delight comes through in I Am The Captain Of The Pinafore and Never Mind The Why and Wherefore, and his gorgeous baritone is given full airing in the ballad Fair Moon, To Thee I Sing. He’s matched for tenderness by the great chemistry between Ralph Rackstraw and Josephine (Danny Becker and Sam Kipling) who eclipse everything else on stage during their duets. It’s all framed by a simple set – naval bunks, bits of rags and other common room accessories assembled by designer Ryan Dawson Laight into a highly effective and versatile platform for the shipmates’ show.
With a vibrant, thumping first half that showcases Lizzi Gee’s choreography and inventiveness perfectly it’s almost inevitable that it loses energy at the start of the second act as thoughts become more focused on love and fate. Though romantic and well executed, there’s a noticeable dip. It also, through playing these characters with verve but without much nuance, removes a lot of dramatic jeopardy that could keep us gripped; of course Ralph and Josephine will end up together, the Sea Lord really could never be seen as a credible interference to them.
Setting this apart from the previous productions (great though they were) is the chemistry and charisma this cast shares. It really feels like they’re bound together by service, friendship forged in fire (and maybe more). This closeness radiates out to the audience, lifting this story of a lass that loved a sailor to a highly enjoyable and engaging level
Runs until 9 April 2022 then tours
The Reviews Hub Score
Enjoyable and engaging
