By Kristin Forbis
Outlaw Trail Theater’s production of The Pirates of Penzance playing in Vernal is unquestionably the artistic dose of comedy you need in your life right now. The Pirates of Penzance is a witty rapid-fire operatic spoof that both masterfully parodies the style and tradition of opera while still flourishing as the musical form it pokes fun at. Composer Sir Arthur Sullivan and English playwright W.S. Gilbert are responsible for this brilliant piece of work, which premiered in England on December 30, 1879, and in New York City on December 31, 1879.
The operetta’s full name is The Pirates of Penzance or The Slave of Duty, an important note if you want a quick study of the protagonist. The play opens on the coast of Cornwall, England where a band of pirates is celebrating the 21st birthday of Frederic (Mike Sorenson), who has been raised the apprentice to a tender-hearted Pirate King (Joel Benedicto). The frolicking mood quickly changes when Frederic, first and foremost a slave to duty, announces that now that his apprenticeship is up, and he has learned his parents meant for him to be raised the apprentice to a ship’s pilot, he is now bound to disdain and destroy piracy and all who practice such. After apologizing for the sure future where he must kill them all, Frederic breaks from the band with his aging nursemaid Ruth (Andrea Wardle) in tow, who Frederic accepts as his apparent duty to wed. After all, she confirmed that she is beautiful and as he hasn’t seen another woman since he was a young boy, who is he to doubt? The plot quickly thickens when Frederic spots a nearby beach full of sisters making merry. Appalled by yet another case of Ruth’s clear misjudgment, the betrayed Frederic determines he must get a closer look at their youthful faces and naturally, shenanigans ensue.
While on my way to the Outlaw Trail Amphitheater, I found myself contemplating the show’s staying power. Nearly 140 years after its debut, here I was, about to experience what the world over has deemed a masterpiece of Gilbert’s satire and Sullivan’s melodious musicianship. As I looked over the playbill, I recognized the names of all the leads, having seen their capable talents in recent years. Still, I knew from my research that the operetta’s technical difficulty and the quick madness of the text would certainly pose a challenge. Spoiler Alert: Their talents were equal to the task. The show is beautiful, hilarious, and I honestly understood almost every word, an accomplishment in diction not to be dismissed.
Benedicto and his soaring voice make a natural Pirate King. I enjoyed the breadth of his theatrics as the rascally champion of orphans: quick to fury, quicker to kindness, and the shining example of comedic timing throughout. Sorensen is the right man to play opposite Benedicto as their voices pair gloriously. Sorensen leans into Frederic’s one-dimensional earnestness and delivers strong vocals from start to finish, even with a heavier load of songs than any other cast-mate. The character of Frederic is far from my favorite but Sorensen’s wide-eyed delivery of such a simplistic doofus is excellent.
As much as both men deliver impressive vocals, it is the leading lady, Amy Lemon as Mabel, that made me mutter an involuntary ‘WOW’ about 15 seconds into her stunning operatic show entrance. Sullivan wrote the role of Mabel to stand out as a coloratura soprano, which, not surprisingly, is usually the deal breaker for many theater companies who would otherwise take a crack at this show. Lemon is an ideal Mabel: all poise, grace, and charm until she isn’t and her fire is enough to make even the Pirate King back down.
The other leading lady, Wardle, has a similar quality in commanding stage presence and striking the energy each scene requires. Wardle’s Ruth shines in Act II as a now colorfully dressed pirate recruit delighting in Frederic’s self-inflicted torture. A four song trio by Wardle, Sorensen, and Benedicto left me charmed as they sang about what does and doesn’t “really matter, matter, matter…” Wardle’s contralto, Sorenson’s tenor and Benedicto’s baritone impressed me, especially their prowess in singing simultaneously with impossible mouthfuls of lyrics that would make even a Modern Major-General proud.
Never to be forgotten, Jon Stearmer takes on the role of Major-General Stanley. Fantastic hair, makeup, and costume provide the outward transformation, while Stearmer’s total envelopment of the role takes him the rest of the way to loving father, expert level rhymester, apologetic pirate snob, and guilt-ridden moralist. I’ll never forget the moment I thought the iconic Modern Major-General song was over and Stearmer rose seemingly with ease to the challenge to sing it even faster.
The characters mentioned so far may carry the storyline but the show wouldn’t be a success without the talent and flair of the three ensembles. Mabel is one of nine of the Major-General’s daughters, whose giggles, gasps, songs, and delicate dancing are a pleasure to take in. As one of the leading daughters, Danni Harrison’s sweet but strong vocals stand out, as do her execution of the choreography. The pirate ensemble is a fantastic blend of scalawags. Samuel (Jacob Harrison), the Pirate King’s right hand man, is often the loud one in the middle of mischief with his gruff voice and on point pirate vernacular. I especially enjoyed Harrison’s engaging pirate-y vocals. Finally, the show’s humor is rounded out by the unforgettable bobby ensemble. Gloriously frail and wobbly, the quivering flock of weaklings totter around with precision. As the bobbies’ Sergeant, Kenzy Anderson provides the model for his pitiful crew and their well-oiled mustaches; dancing to impress and maximizing his nasal-esque abilities while singing like a Broadway pro. It is enchanting and annoying all at once. Expertly done.
As always, the Litton family deserves accolades and credit for bringing Broadway Under the Stars to rural eastern Utah year after year. The labor of love is led by Executive Producer/Technical Director Ron Litton and his wife/Production Assistant Jo Ellen Litton. Music Director Brian Litton adds his talents to see the productions through each year and the musical excellence in this production is no exception. Many other members of their family, as well as a host of theater loving volunteers, helped make the set, costumes, props, and production a success. I congratulate Director Jen Curtis on the role she played in selecting such a strong cast and crafting a show that delivers side-splitting comedy throughout without neglecting the show’s difficult music.
Mother Nature provides nightly sunsets and Act II fades from dusk to dark each show for The Pirates of Penzance at theOutlaw Trail Amphitheater at Western Park in Vernal. This production is suitable for all ages and tastes. Bring a blanket to cuddle and umbrella as backup for this exceptional outdoor nighttime experience.
As a true aficionado for both clever comedy and exacting music effortlessly done, I was doomed to love the story of Frederic, the would-be PILOT (pie-lot) mistakenly raised a PIRATE. Yo ho ho ‘twas true and Avast Ye! ‘twill be your fate too!
Outlaw Trail Theater presents The Pirates of Penzance by composer Sir Arthur Sullivan and playwright W.S. Gilbert, adapted by William Elliot.
Outlaw Trail Amphitheatre, 302 E 200 S, Vernal, Utah 84078
June 20-23, 24, 25, July 1-3, 5, 6, 2019 8:00PM
Tickets: $9-14
Contact: 888-240-2080
Outlaw Trail Theater Facebook Page
Pirates of Penzance – Outlaw Trail Theater Facebook Event
Photos by Joie Madison Photography
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