REVIEW: Valley Light Opera, The Pirates of Penzance

Valley Light Opera, Northampton, MA

www.vlo.org

through November 14, 2021

by Michael J. Moran

"Penzance" Bobbies in Rehearsal

Returning to live performance after a two-year Covid hiatus with Gilbert and Sullivan’s “Pirates of Penzance” must have been an easy call for Valley Light Opera: G&S are a house specialty here (all 14 of the duo’s comic operas – and even more of their music - are in VLO’s repertoire); this is their 7th production of “Pirates” since 1979; and “Pirates” audiences always leave the theater feeling happy. The November 14th performance was a full house.

Subtitled “The Slave of Duty,” this 1879 creation tells the convoluted story of how 21-year-old Frederic escapes his apprenticeship to a band of soft-hearted pirates and surmounts a “most ingenious paradox” involving the date of his birthday to find true love with Mabel, daughter of a major-general who wants to bring the pirates to justice. As Ruth, the pirates’ “maid-of-all-work” responsible for Frederic’s apprenticeship, Kathy Blaisdell was a hoot. Travis Benoit and Rory Mason as the lovers brought sumptuous singing voices and stylized acting skills to their roles.

The most impressive vocalist was Thom Griffin, whose brilliantly pompous Major-General Stanley negotiated the challenging patter of his big number, “I Am the Very Model of a Modern Major General,” with flawless diction and dotty good cheer. Matt Roehrig was a close second, investing the pirate king with equal measures of swagger and compassion. But the strongest vocal highlight may have been the incongruously touching “Hail poetry” chorus, sung thrillingly by the entire 34-member ensemble near the end of Act I.

The comic high point was the hilarious Act II “Tarantara” chorus by the hapless troop of English “Bobbies” organized (but reluctant) to capture the pirates, enhanced by the clever choreography of Graham Christian. Reminiscent of the Keystone Cops, the men in full garb topped off their shenanigans from tapping toes to tall metal hats hilariously. Vibrant musical direction by Aldo Fabrizi drew spirited playing from the orchestra in the pit and kept them in clear balance with the company on stage in the warm acoustics of Northampton’s Academy of Music.

Straightforward stage direction by Steve Morgan, simple but imaginative set design by Chris Riddle, and appropriate period costume design by Laura Green further distinguished this crowd-pleasing triumph for VLO, whose next offering will be Mozart’s “Requiem” in April, 2022.

The Yeomen of the Guard

Valley Light Opera, Academy of Music, Northampton, MA

www.VLO.org

through November 16, 2014

By Mary Ann Dennis

Gilbert and Sullivan’s "The Yeomen of the Guard," is a favorite of both author and composer, as well as the VLO family. Although the darkest of the G&S operas, pointed satire and punning one-liners abound. There are plenty of topsy-turvy plot complications and many believe that the score is Sullivan's finest. The plot involves ever-changing emotional balance of joy and despair, love and sacrifice.

It is said that the sign of a great director is in the casting. The VLO's perfect cast gives an almost perfect rendition of this masterpiece, giving full vocal and histrionic justice to both text and music. Jacqueline Haney’s direction is spot on and musical director Aldo Fabrizi shapes the decrescendos with great sensitivity including outstanding acapella pieces.

Phoebe, played by Kate Saik, opens the show with a solo and literally sets the tone from the start. Saik embraces this character from head to toe, moving about the stage through intentions, not just blocking. Jonathan Klate as Jack Point, in one of the most difficult roles, does a wonderful job as he plays a subtle account of this sad, lonely, self-mocking clown. Jonathan Evans, who performs Fairfax, sings some of his moments with such a sweet falsetto. He has a beautiful tone, especially in his wooing Elsie. Not only can Elaine Crane, who plays Elsie, sing, but she brilliantly “takes on” the emotions needed for this demanding role. The stunning contralto, Dame Carruthers, played by Kathy Blaisdell, has all the right stuff; a rich voice and a magnificent stage presence. Michael Budnick, who plays Wilfred the Jailer, is hilarious in his conflict. Although he doesn’t have the pipes of the rest of the cast, he makes it work.

The chorus is tight in their vocals and diction. The stunning set and lights complement the show perfectly. Elaine Walkerk and Laurla Glenn's set and costumes bring authentic early 1500’s to life. Seems like it would take years to make just the costumes.

For G&S fans and for those who are not, this production of "Yeomen" is a must see.