Review: Pirates! The Penzance Musical

In a season of bold reimaginings of classic pieces in the musical theatre canon, some have stood out, highlighting different aspects of a known work and turning it into a new production. However, some have missed that mark by a large margin. 

Pirates! The Penzance Musical falls into the latter category. This highly anticipated revival of Gilbert and Sullivan’s seminal 1879 operetta The Pirates of Penzance sailed into Roundabout Theatre Company’s Todd Haimes Theatre this spring in a new adaptation by Rupert Holmes, directed by Scott Ellis. The production reimagines the story, moving it from the foggy docklands of Penzance—a real town on England’s southern coast—to the vibrant streets of New Orleans’ French Quarter, a choice unlikely to please purists. With conspicuous changes to the script and the inclusion of songs from other Gilbert and Sullivan works, this production feels less like a revival or reconception of The Pirates of Penzance and more like an entirely new show dressed in the costume of the original operetta.

David Hyde Pierce as the Major-General

That is not to say the production is entirely bad. There were genuinely enjoyable moments, particularly thanks to the performances of the all-star cast. David Hyde Pierce as the Major-General radiated charm, and as soon as he appeared—forty minutes into the first act—the production received a much-needed jolt of energy. Until then, I found myself somewhat disengaged, but the clarity, perfect enunciation, and wit with which Pierce delivered “I Am the Very Model of a Modern Major-General” drew me back in, and his continued presence kept me invested through intermission. The scene following his song, featuring a conversation with the Pirate King—played with power and charisma by Ramin Karimloo—was the highlight of the show for me. Showcasing Gilbert and Sullivan’s masterful comedic writing as the characters hopelessly debate whether they are saying “orphan” or “often,” this moment had the entire audience, myself included, laughing hysterically. Karimloo’s performance throughout the rest of the show was solid, delivering the impressive physical comedy, impeccable timing, and sensational vocal moments that audiences have come to expect from him.

Ramin Karimloo as the Pirate King

Jinkx Monsoon of RuPaul’s Drag Race fame plays Ruth, perhaps the character who benefits most from this reworking of the show. She now has a number taken from The Mikado in the second act, which attempts to flesh out her otherwise purely comedic and flat character—but it doesn’t accomplish much. Unfortunately, it falls flat; like a square peg forced into a round hole, the song feels out of place and adds little to the overall production. That sentiment extends to the other added songs as well: the show’s opening number, a new song for the Major-General in Act Two, and the cliché and phoned-in Act Two finale. The Act One finale, “We Sail the Ocean Blue,” borrowed from HMS Pinafore, another Gilbert and Sullivan operetta, was ironically the tune I found myself whistling throughout intermission—much to my own chagrin.

The best part of this new adaptation was certainly the new orchestrations. Crafted by Daryl Waters and music director Joseph Joubert, they truly anchor this production in New Orleans with their use of jazz instruments and rhythms. The orchestra is able to carry the production forward, even when the storytelling falters, allowing its coherence and dedication to the story’s reimagination to be one of the standout aspects of the production. 

The company of Pirates! The Penzance Musical

Technically, this production is a mixed bag. On the one hand, Linda Cho’s costumes captured the spirit of New Orleans with beautiful fabrics and bold designs, and Donald Holder’s lighting design skillfully balanced narrative clarity with imaginative vibrancy, enhancing both the mood and storytelling. On the other hand, while the scenic design was colorful and thematically fitting, it often looked visually cheap. The sound design, however, was the most disappointing aspect. For much of the first twenty minutes, it was difficult to understand a single word being sung—voices were muffled and inaudible. Oddly enough, missing the opening lyrics wasn’t a major loss; the orchestrations were enjoyable on their own, and most of the sung content was repeated in dialogue afterward anyway. Warren Carlyle’s choreography was also hit-or-miss—always entertaining, yet not overly memorable, aside from the washboard dance break during the Act One finale. His tap choreography, executed perfectly by the police ensemble, was also a highlight, breaking up long and disengaging songs. Special props must be given to Rick Sordelet and Christian Kelly-Sordelet’s fight choreography during the faceoff between the pirates and police, a much needed high-energy sequence towards the end of the show.

Overall, this production sailed as if guided by a broken compass, resulting in a disjointed musical lacking a clear sense of direction. Despite strong individual performances and inventive musical touches, the adaptation sank, weighed down by unnecessary additions and uneven technical elements, leaving audiences adrift rather than inspired.

3/5 stars

2 hours and 15 minutes, one intermission

Todd Haimes Theatre

Through July 27, 2025