There is obviously going to be a fair
amount of campery to an all-male production of this Gilbert &
Sullivan operetta, but I honestly don't think I've ever seen quite such
a gathering of boy-totty on a single stage. The pirates swashbuckle on
to the stage, shirts open to the waist, like a bumper boyband; the
stage is awash with tasty seamen. A few minutes later, enter the
Major-General's daughters... and, aside from bodices and skirts, it's
another boyband: no wigs, make-up or attempts to make the performers
look like women, these are simply young men playing female roles. In
Act Two, even wearing Gallagher Brothers eyebrows and sporting huge
cut-out moustaches on sticks as the Cornish constabulary, they are
still above all cute. It is all rather disconcerting.
After its initial run at the tiny Union Theatre last year, Sasha
Regan's production won the What's On Stage award for best off-West End
production, and now it luxuriates in an
East End transfer. (Wilton's
apparently did present G&S evenings in its original 19th-century
incarnation, but these were composed of excerpts rather than complete
single works.) Despite the wealth of young beefcake, it is immensely
charming: fully as playful as you would expect, but rather than broad
travesty there is something almost coy about the female performances.
The falsetto voices are assured rather than parodic, with Alan
Richardson as Mabel excelling in a pure, clear tone that only
occasionally squeaks a little at the very topmost end of a coloratura
run. Samuel J Holmes could have turned the plain, middle-aged nursemaid
Ruth into a pantomime dame, but instead achieves all the effects he
needs by ignoring the gender issue altogether.
Of the male roles, Fred Broom bumbles disarmingly as the Major-General,
though his famous patter-song occasionally gallops away from him. (The
acoustics of the space are for the most part fine, although
occasionally solo vocals get lost or ensembles turn muddy when
contending with simultaneously clumping feet.) Russell Whitehead as
Frederic, the unwilling pirate apprentice, is chunkily affable, and
Ricky Rojas is a Pirate King by way of
Zorro – El Musical. It is an object
lesson in the art of successful G&S: don't monkey around with the
inherent silliness, instead take it seriously but not earnestly. A
dozen or so pretty boys don't hurt either.
Written for the Financial
Times.