Experiencing Live Theater With “The Pirates of the Penzance” 

The Harvard-Radcliffe Gilbert and Sullivan Players, a theater troupe dedicated to performing comic operas solely from the Gilbert and Sullivan canon, recently took the stage to perform “The Pirates of Penzance.” Though opera may seem like an outdated form of entertainment, I quickly realized that laughter transcends time. In the lobby of the historic Agassiz Theater, I watched audience members of all ages and backgrounds gather to enjoy a musical about pirates—a character archetype now more commonly associated with children. 

“The Pirates of the Penzance” originally premiered in 1879 and has since become one of Gilbert and Sullivan’s most famous shows. Sung in an operatic style, it follows the story of Frederic (Henry Pahlow ’28), who is a member of the Pirates of the Penzance, a band of all-orphan pirates, as he navigates his new life on land. “It’s a show for everyone. I think I’ve been saying that a lot, but it can be for kids. It can be for so many of our patrons, [who] have been here for 50 years, or even more, and then, obviously, we’re doing it at Harvard,” director Alicia Chu ’28 told the Harvard Independent.

The opera opens with a celebration of Frederic’s 21st birthday, pivotally marking the end of his apprenticeship with the pirates. His 47-year-old nursemaid, Ruth (Eliza Zangerl ’26), subsequently asks him to marry her, but he rejects her due to their age difference. Eventually returning to land, Frederic meets the six beautiful daughters of the Major General Stanley (Weston Fox ’28) and falls in love with his youngest daughter, Mabel (Violet Paris ’29). 

Turmoil soon arises when the Pirate King (Benjamin Pixley ’29) and Ruth reveal that Frederic was born on Feb. 29 during a leap year—Frederic must continue to serve his pirate apprenticeship, since he technically only had five birthdays. After their romance has just begun, Frederic tearfully asks Mabel to wait for him until his 21st birthday decades later in 1940, and returns to the pirates. Meanwhile, a group of policemen set out to arrest the band of pirates for the crimes they committed at sea.

In their final confrontation, the incompetent policemen demand that the pirates surrender in Queen Victoria’s name as a last resort. The pirates reveal they are actually deeply loyal to Queen Victoria, and Ruth tells everyone they were once noblemen. The Major General agrees to marry all of his daughters to the ex-pirates, and Frederic and Mabel are reunited. 

The “Pirates of Penzance” explores the tension between tradition and change, as Frederic finds himself torn between the familiar camaraderie of his pirate companions and the promise of a new beginning with Mabel. Fittingly, the show’s subtitle is “The Slave of Duty,” in reference to the conflicting obligations Frederic faces once the technicality forces him back to his pirate apprenticeship. This tension reaches its climax in the second act of the show. “Stay, Frederic, Stay” is a heart-wrenching duet in which Mabel begs Frederic not to leave her, to which he responds, “I must obey.”

These serious themes are interwoven with comedy throughout the opera, effectively executed by the talented cast. For example, the Sergeant of Police (Ryan Zhou ’29) and policeman (Jason Urgiles Vasquez ’28) act as comic relief immediately after “Stay, Frederic, Stay” to maintain the light-hearted nature of the show. As Mabel paces the floor, lamenting Frederic’s departure, the two policemen shuffle awkwardly from left to right to follow her. 

The production also adds unique touches to the Major General’s character. Chu highlights a scene between the Major General and the Pirate King, played by Fox and Pixley, where the Major General and Pirate King cannot understand each other due to the British pronunciation of “orphan” and “often.”

In that scene, the Major General and Pirate King cannot understand each other due to the British pronunciation of “orphan” and “often.” They go back and forth, asking if they mean “orphan, a person with no parents,” or “often, frequently.” The Major General resorts to sitting on the edge of the stage and asking a member of the orchestra what he thinks the Pirate King is saying. At the climax of their argument, the Major General reaches out and touches the Pirate King’s nose with his pointer finger, saying “Boop!” 

“It’s such a good scene, and they truly make it their own every single night,” Chu said. These details set the HRG&SP’s production apart from simply a reenactment of a 19th-century play—they make each show their own.

Frederic’s initial meeting with the six women is another example of the show’s personalized humor. Since he has never seen any woman except Ruth, Frederic is astonished by the beauty of the Major General’s young daughters, particularly Mabel. In an impressive vocal performance, Paris sings “Poor Wand’ring One” with stereotypically operatic scales and embellishments at the top of the soprano range. Awestruck, Frederic staggers erratically to each note, as if losing physical control of his body at Mabel’s beauty. 

However, these characters would not be as bold and vibrant if not for the efforts of the crew. Jack Damon ’28 directed music, taking the audience into the 19th century with jubilant pirate tunes. Sam Park ’29 and Kimberly Baptiste, who graduated from UMass Boston in 2023, brought personality into each character with unique costumes, hair, and makeup. As well as directing, Chu choreographed every dance, filling the stage with life.

When we first meet the daughters in Act I, the costumes and choreography come together in an exciting way. In “Climbing Over Rocky Mountain,” their rosy cheeks and colorful skirts express their youth and beauty. They dance with their white lace parasols, spinning and twirling them in choreographed movements that communicate their sisterly bond. Mabel’s costume further stands out, consistent with her character as the love interest and female lead. Her dress is pink, rather than the muted tones of her sisters’ skirts, and covered in ribbons. 

Moreover, the orchestra and cast collaborated in the Act II finale. The pirates swung their swords perfectly in time with the music, contributing to the show’s playfulness and theatricality. The pirates also moved their fight into the audience for part of the scene, adding to the exhilaration. 

The show ends with a celebration of the marriages between the six pairs of ex-pirates and daughters. The couples pair up to dance, and the full cast is on stage. The women’s skirts fill out the space as they twirl, bringing energy and vitality to the stage. In a final comedic moment, the Sergeant of Police is left without a dance partner. The policeman abandons his partner to dance with the Sergeant, leaving one of the sisters exasperated.

“I hope [the show] just makes people laugh and have a good time and be able to escape the real world for a few hours and just immerse themselves in the communal experience of experiencing live theater,” Chu said.

This production marked the first show since the organization took a hiatus of almost three years due to COVID-19, as HRG&SP presidents Damon and Nina Jasanoff ’28 mentioned in the pre-show announcement. Chu said she felt “the pressure of feeling like I am now a little bit responsible for the revival of this organization.” Despite the challenges of returning from an unexpected hiatus, the show was delightfully hilarious and charming. 

“The Pirates of the Penzance” is, quite simply, pure fun. In the era of streaming services, we often miss out on the joy of laughing with other people. But in the comfort of the Agassiz Theater, I found myself sharing a delightful moment with complete strangers. Fittingly, the show heavily involves themes of found family and obligation to loved ones—“The Pirates of the Penzance” was the perfect show to come back to after a hiatus, as it illustrates the purpose of theater in bringing the community together with laughter.

The Harvard-Radcliffe Gilbert and Sullivan Players performed “The Pirates of the Penzance” at the Agassiz Theater from Nov. 13-16.

Ellie Guo ’29 (eguo@college.harvard.edu) often, as in frequently, attends live theater performances.