A Sea of Fun at the Seattle Opera’s "The Pirates of Penzance"

As I made my way to my seat in the ever-crowded McCaw Hall theater, I couldn’t help but pay attention to the audience around me. Surrounded by opera-goers in pirate garb, I was immediately immersed in the lively atmosphere—I was clearly not the only one enthusiastic about seeing The Pirates of Penzance. With the show’s 146-year history and countless adaptations, it was obvious that the opera, telling the tale of a young pirate and the daughter of a major general falling in love, has captivated the hearts of many. As the story unfolds, Frederic, a sincere young man who accidentally became an apprentice to a group of pirates, yearns to escape his criminal lifestyle and marry Mabel, the quirky young daughter of the major general. But when a loophole in his contract ruins his chance to break free, Frederic is forced to choose between loyalty and love.

After the crowd settled down, the dynamic, majestic orchestra conducted by David Charles Abell began to play the overture. While I was admiring the orchestra, the curtain whisked open to reveal an incredibly spirited crew of pirates, complete with a large boat which swiftly sailed into place. Led by the Pirate King (Reginald Smith Jr.), the pirates were dressed head-to-toe in clashing yet appealing patterns and were extremely well costumed thanks to costumer James Schuette. The patterns enhanced the swashbuckling and rambunctious nature of each pirate. While the pirates sang about young pirate Frederic’s (David Portillo) birthday, they danced around the stage, riddled with unique props that added to the comedy and characterization of each pirate in the chorus. Some pirates held books, some held teddy bears, and most had an arsenal of weapons, all of which helped me visualize who these pirates truly were.

Baritone Reginald Smith Jr.’s performance as the Pirate King was especially enthralling. Marking his debut at the Seattle Opera, his stage presence immediately blew me away. It was very clear that Smith knew exactly how to play the Pirate King—his acting and mannerisms were silly, confident, and charismatic. His voice was very powerful and rich. The crowd’s roar of applause after the first few numbers showed that others felt the same way.

Once the pirates sailed away, the focus shifted to Ruth (Katharine Goeldner), Frederic’s former nursemaid, and Frederic himself. Goeldner and Portillo‘s performances were highlights as well. David Portillo plays a perfect Frederic; sincere, romantic, duty-bound, and dreamy, while Goeldner’s Ruth is not only matronly and devoted but very vibrant and hilarious. When the two sing together, they sound incredibly harmonious. Something I found myself marveling at frequently throughout the opera was the casting. Each role was cast perfectly, from Smith’s confident Pirate King to the comedically cowardly group of policemen, and when soprano Vanessa Becerra appeared as Mabel, I knew this was more than true. 

Appearing with an impeccably dressed chorus of maidens in matching and soft pastel dresses inspired by Victorian seaside fashion, Becerra’s talent was immediately evident. Her high and clear soprano voice performed incredibly impressive runs and sounded absolutely fantastical, and so did the entourage of actresses around her. As Mabel and Frederic meet for the first time, they sing together, and they sound immaculate. Their voices complemented one another very nicely. As this scene went on, I found myself admiring the scenery. Though the sets were relatively simple, they were effective. I found that the set pieces enhanced the story by establishing the time period and reinforced the narrative. The lighting by Robert Wierzel was largely helpful in telling the story beyond the singing, embracing the mood that each scene conveyed. Solemn and sad scenes were portrayed through moody, cold tones, while bright yellows and oranges lit up the stage during happy, high-energy scenes. 

With Mabel and Frederic now acquainted, the pirates arrive to select their own spouses, but not before they are stopped by the major general, played by baritone Thomas Glass. Glass’s performance as the pompous, gaudy general was both phenomenal and hilarious, and I found his performance to be my very favorite. 

After the pirates rough it out with an operatic battle, the first act comes to a close, and the second act begins in a graveyard. The lighting and headstones created an eerie impression that looked great with the arrangement of all of the actors onstage. The chorus of maidens returns once again to console the major general over the fact that his dearest daughter had fallen in love with a pirate. Once again, the costumes worn by the chorus of maidens were fantastic, all quite different but not enough to where they looked unaffiliated with one another. Each maiden was dressed in a beautiful pastel-colored nightgown, their hair done with matching accessories. 

Once the major general sorts out his concerns with the band of swashbuckling pirates, the story concludes on a note of pure joy and love. The final number brought the cast together in an exciting display of harmony that perfectly encapsulated the playful spirit of the show. As the cast bowed, the audience’s enthusiasm was undeniable. 

Altogether, this production of The Pirates of Penzance was an incredible celebration of the opera. Through clever direction, wonderful vocals, creative staging, immaculate casting and costuming, the Seattle Opera produced an absolutely phenomenal show that anyone would be thrilled to see, and I recommend it to all.

Lead photo: Front, from left: David Portillo (Frederic), Reginald Smith Jr. (the Pirate King), and Ilya Silchukou (Samuel) with members of the Seattle Opera Chorus in "The Pirates of Penzance" at Seattle Opera. © David Jaewon Oh.

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