Completely ignoring the old aphorism “if it ain’t broke, don’t fix it,” Roundabout Theatre Company fails to trust the wit and charm that has kept The Pirates of Penzance perennially on stage for some 145 years.

With the much loved Gilbert and Sullivan operetta now well and truly out of copyright, not even the title itself is safe. Rechristened Pirates! The Penzance Musical, the story is transplanted to New Orleans, introduced as being part of the US premiere season to secure local copyright for the work. The lively concept leads to some snazzy musical arrangements, while the book and lyrics fare less well. 

It cannot be denied that the resulting product contains many a merry moment, and that newcomers to the work will surely warm to the experience. Purists, on the other hand, will suffer with the cuts and twists to the score and the complete dumbing down of the text. It is assumed that adapter Rupert Holmes has an inordinately low opinion of the intelligence of Broadway audiences. Slashing through the wittiest of jokes and scenes, Holmes feels the need to provide a sodden explanation for every single plot development and character motivation. 

Director Scott Ellis and his team have cut numbers such as Frederic and Ruth’s combative duet “Oh! false one, you have deceiv’d me,” the Daughters’ delightful “How beautifully blue the sky” (with its gorgeous counterpoint from Frederic and Mabel) and the Major General’s precious “Sighing softly to the river” and yet have then added in numbers from other Gilbert and Sullivan operettas. 

Of these added numbers, act one encore “The ‘Sail the Ocean’ Blues” (based on “We Sail the Ocean Blue” from HMS Pinafore) is a ripper, with the full cast accompanying themselves on crisply percussive washboards. For the act two finale, a modicum of social relevance is neatly inserted, with the cast singing “We’re All From Someplace Else” (to the tune of “He Is an Englishman,” also from HMS Pinafore). 

Progress through the show is frustrating, with the adaptation flipping between moments of respect to the original material and then mad derailments into banal lyrics or dialogue and alterations of the score. An example of this sort of adaptation done well would be Hot Mikado, which set upon a deliberate style and stuck to it, resulting in a cohesive, enjoyable new version of The Mikado. 

Possibly the most successful aspect of the production is the superb quality of the music, both instrumental and vocal. Music director Joseph Joubert conducts an orchestra of 15 musicians, with the brass and banjos of New Orleans shining through. Full company vocals are at an absolute premium and are a true joy to hear.  

A terrific example of trusting the source comes in act two company number “When the Foeman Bares His Steel,” with the male and female countermelodies soaring out gloriously. 

Choreographer Warren Carlyle adds plenty of visual pleasure to proceedings, a highlight being the ringing tap beats of the Policemen in the aforementioned company number “When the Foeman Bares His Steel.” 

Set design by David Rockwell begins with a picturesque New Orleans square, into which the Pirate King rides the biggest stage boat since Anna Leonowens sailed onto stage in the 2015 revival of The King and I. 

Linda Cho’s costumes are deliciously detailed, most especially the colourful geometric patterns on the daughters’ dressing gowns. One misfire of costume design and direction is the lack of distinction between the looks of Ruth, frumpy nursemaid of Frederic, and Mabel, gorgeous maidenly daughter of Major-General Stanley. 

The performance is introduced by Gilbert and Sullivan themselves, taking the chance to explain the copyright issues and the tweaking of the operetta for the New Orleans setting. Preston Truman Boyd brings a suitably plummy tone to Sullivan but the true audience favourite is already David Hyde Pierce, beginning as Gilbert and then nattily zipping his way through the patter songs of Major-General Stanley. 

Ramin Karimloo delivers rousing chutzpah as the Pirate King, performing an impressive array of stunts in his big number “ I Am the Pirate King.” Tweaks to the book and score bring the character of the Pirate King more to the fore, which is a welcome move to make optimal use of charismatic star Karimloo.

The broad playing style of Jinx Monsoon is a solid fit for the comedy and her earthy vocals enhance the comic musical moments for Ruth.

Young tenor Nicholas Barasch is a delight as Frederic, his thick head of red curls giving him a “good boy” look fitting with his “slave of duty” persona. Barasch sings the role in gleaming tone, effortlessly soaring to lovely high notes. Samantha Williams is a lovely partner for Barasch as Mabel. Barasch is not required to sing in full operetta soprano style but her vocals sound sweet and full bodied nonetheless. 

Boyd returns as the tap dancing Sergeant of Police, doing extra duty when he is not given a police chorus for “A Policeman’s Lot.” 

The talented ensemble members give their various roles plenty of personality to complement their excellent singing and dancing. 

Purists are warned to approach Pirates! The Penzance Musical with caution. Wider fans of Broadway musicals will most likely find plenty to enjoy. 

Pirates! The Penzance Musical was reviewed 7pm Thursday Thursday 8 May 2025 at Todd Haines Theatre, New York. For tickets, click here.

Photos: Joan Marcus