Victorian Opera continues to delight, this time with an hilarious, uplifting and thoroughly entertaining production of Gilbert and Sullivan’s slapstick favourite. I am in awe of the vocal calisthenics of soprano Nina Korbe. What an extraordinary talent she is. Hers is a golden voice worth travelling from far afield to hear. In fact, she is one of many to impress in a virtuoso show that repeatedly tickles the funny bone.
Premiering in New York in 1879, The Pirates of Penzance is the madcap story of tender-hearted pirates and the attractive bevy of daughters of a military man. The main focus is on handsome young Frederic, who has been indentured to the reprobates. Now – having turned 21 – he is desperate to pursue an honest, more meaningful life. So, when the clock strikes 12, he is off.
Truth be told, he is inexperienced with women. The only one he has come across is the pirate nursemaid Ruth, now aged 47, who raised him. When Frederic leaves the band of marauders, Ruth wants to go with him and become his wife, tricking him into believing she is pretty. But he quickly uncovers her deceit when he unexpectedly sees, meets and is immediately smitten by Mabel (one of the Major-General’s lovelies).
Soon, marriage is on the cards, but a technicality draws Frederic – who is very much about fulfilling his duty – back in with the pirates. He is destined to serve them for the next 63 years and implores Mabel to wait for him. But a further twist in the plot is yet to play out. The performers under the direction of Stuart Maunder and the choreography of Elizabeth Hill-Cooper revel in the fun and fancy of the outrageous conceit.
The familiarity of the jaunty music, with the benefit of conductor James Pratt and Orchestra Victoria, is a major plus. Tunes like I Am the Very Model of a Modern Major-General, Poor Wand’ring One and Oh, Better Far to Live and Die (The Pirate King song) are performed with spirit and bite. The strong casting choices, which include the leads and a vigorous ensemble, resonate.
Nicholas Jones brings enviable stage presence to the righteous Frederic, while I have already rightfully praised Nina Korbe as the latter’s one true love, Mabel. Ben Mingay has a wow of a time as the influential Pirate King, skilfully navigating Frederic’s departure and wickedly orchestrating his return. Antoinette Halloran makes a cheery and swashbuckling Ruth.
Richard Piper steps effortlessly into the role of the much loved, pretentious Major-General. There is a flourish about Christopher Hillier as the police sergeant, leading a bunch of bobbies who fall into line. Richard Roberts excels with his set design, comedically “playing” with an attractive centrepiece spelling out the name of the production. Props such as different sized, cartoonish pirate ships, trees and monumental headstones are wheeled in and out.
Splendid costuming by Roger Kirk counterpoints the roguish pirates and lady-like daughters with the entitled Major-General and uniformed police. Complete with strong lighting and sound design from Trudy Dalgleish and Samuel Moxham respectively, The Pirates of Penzance makes for a memorable night out. This original production by Opera Australia has been beautifully realised anew by Victorian Opera.
Two hours 10 minutes, including interval, it is on at Palais Theatre until 6th February, 2026.
Alex First
Other reviews you might enjoy:
- La Rondine (Victorian Opera) – opera review
- Idomeneo (Victorian Opera and Opera Australia) – opera review
- A Little Night Music (Victorian Opera) – theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.