Review by Tim Garratt
It’s no small achievement for any theatrical work to still draw audiences in almost 150 years after its debut. In 2026, The Pirates of Penzance (subtitled ‘The Slave of Duty’) remains a beloved fixture on stages across the world.
Last year, Richard Carroll directed a fresh adaptation of Gilbert and Sullivan’s comic operetta for Sydney’s Hayes Theatre Co. Featuring five actors playing every role, new musical arrangements by Victoria Falconer, and humour updated for contemporary audiences, this production offered a modern take on the classic work.
After an enthusiastic reception from both audiences and critics at the Hayes, the reimagined production toured regional NSW and Canberra. It has now returned to Sydney for a limited residence at one of the city’s newest venues: the 360-seat Foundry Theatre.
Set in late 19th century England, The Pirates of Penzance begins on the 21st birthday of Frederic (Maxwell Simon), an orphan who was raised by a nursemaid, Ruth (Brittanie Shipway), and a band of pirates for whom he’s long served as an apprentice. His apprenticeship has ended and he sets off in search of a new life. He soon falls for Mabel (also Shipway), the daughter of a lily-livered Major-General (Jonathan Holmes), and seizes his chance to lead a ‘respectable’ life far removed from piracy.
But Frederic’s former pirate comrades return to share a complication. His apprenticeship contract required him to work in that capacity until his 21st birthday. Because he was born on February 29, he’s only celebrated six true birthdays. So, adhering strictly to the wording of the contract, Frederic owes the pirates a further 63 years of service.
The Pirates of Penzance has long been lauded for its lambasting of Victorian society and its clever pater songs. In this latest version, under Carroll’s direction, the operetta makes a strong case for its enduring place in the canon. The production delivers abundant laughs and a delightfully entertaining experience.
Nick Fry’s set makes an immediate impression on entering the theatre. Expanded from its smaller staging at the Hayes, the design fills the Foundry Theatre without sacrificing intimacy, with audience seating incorporated onto the stage itself. This helps to facilitate a close connection between performers and audience that gives the production a dynamic, responsive energy, which the cast capitalised on throughout opening night.
The cast is impressive. As Frederic, Simon strikes exactly the right note, bringing a tongue-in-cheek Disney-prince earnestness and a healthy dose of blissful naivety. Jay Laga’aia is similarly well cast, imbuing the Pirate King with warmth and affability while exuding authority and stage presence.
Holmes dons numerous hats, excelling as the quirky Major-General while also acting as musical director and accompanying the show on piano (almost its sole instrumental backing). Meanwhile, Sarah Murr’s versatility is also on full display as she assumes various guises (and hits some terrific high notes).
Rounding out the cast, Shipway proves one of the production’s greatest assets. Whether as Frederic’s nursemaid, Ruth, or the charming Mabel, she never misses a beat, bringing great comedic rhythm and a soprano that more than does justice to Gilbert and Sullivan’s compositions.
So, what are you likely to take away from this raucous and ridiculous night of theatre? Very little in the way of life lessons, but you’ll likely have an immense amount of fun all the same.
The Pirates of Penzance is playing at Sydney’s Foundry Theatre until 7 June.
For more details and tickets: https://www.foundrytheatre.com.au/
