Pirates of Penzance holds a unique place in the annals of musical theatre history. Originally premiering in 1879, the quintessential work by W.S. Gilbert and Arthur Sullivan revolutionized the Victorian stage with its biting wit, clever wordplay, and unforgettable melodies. For decades, it was a favorite of community theatre companies across the United States, allowing artists to wet their whistle on material that encouraged their talents to grow, while still steering clear of conservative ires.
A comedy, Pirates of Penzance follows a duty-bound pirate's apprentice who falls in love with the tender-hearted daughter of England鈥檚 Modern Major General. Chaos ensues as his former band of brothers come ashore to bring him back under control of their leader, the charismatic Pirate King. Even if they aren't aware of Gilbert and Sullivan, most people know the song lyric: "I am the very model of a modern Major General."
These days, however, Pirates of Penzance poses a particular challenge for producers, and audiences (aside from a shoutout in Hamilton). The language, humor, and style of Pirates reflect the Victorian sensibilities of when it was written, which can feel distant (even unfunny) to contemporary viewers. What was once entertainment for the masses has been rebranded in pubic memory as something prim and proper.
That branding changed for The Pirates of Penzance in 1981 when a production directed by Joseph Papp on Broadway, featuring Kevin Kline as the charismatic Pirate King, kicked off a tidal wave of renewed interest in the material. That revival, which deftly balanced respect for the original with a vibrant new energy, ultimately earned the Tony Award for Best Revival. Fast forward to 2025, and Roundabout Theatre Company is giving the material yet another shot in the arm.
Now playing at the Todd Haimes Theatre, Pirates! The Penzance Musical, led by director Scott Ellis and adapted by Tony-winner Rupert Holmes, does not aim to primarily please purists. Instead, it serves as a vibrant and spirited reimagining, designed to captivate new generations who may have never encountered Gilbert and Sullivan鈥攐r who might have found their operettas inaccessible in the past. Their efforts have snagged them a nomination for Best Revival of a Musical at the 2025 Tony Awards.
Ellis intended, through this production, to introduce a new generation to Gilbert and Sullivan鈥檚 work. 鈥淚鈥檝e got kids who are 15, 17 years old, and they honestly had no idea who Gilbert and Sullivan were before we started this process,鈥� he shares. 鈥淢y hope is that when they walk out of the theatre, they go, 鈥極h, that鈥檚 Gilbert and Sullivan? Huh, that was actually really fun!鈥� It鈥檚 about making that connection鈥攕howing them that this isn鈥檛 some dusty old thing but the very foundation of musical theatre as we know it.鈥� Ellis believes this production鈥檚 playful energy and contemporary feel can break down preconceptions, encouraging younger audiences to explore the wider Gilbert and Sullivan canon. 鈥淚t鈥檚 kind of like handing them a key to a treasure chest of musical theatre history, and I think that鈥檚 pretty cool.鈥�
鈥淚 grew up on Gilbert and Sullivan,鈥� Holmes says, 鈥渂ut I wanted to bring the show into a world that resonates now, where the music isn鈥檛 just light operatic tradition, but something vibrant and alive 鈥� something people can feel in their bones.鈥� His adaptation does just that, reimagining the setting from the foggy English coast to the colorful streets of New Orleans, embracing the city鈥檚 rich musical heritage and flamboyant culture.
This revival begins with a new framing device. Both Gilbert and Sullivan appear, delivering a direct address to the audience explaining the original history of the operetta, before diving into this productions conceit: enamored with New Orleans, they have updated the piece to reflect the city and its real life link to piracy, with Gilbert stepping into the role of the Modern Major General himself.
In this retelling, a band of pirates come ashore in New Orleans, determined to make the most of their shore leave before Frederick, a na茂ve young apprentice, is released from his contract. Eager to learn the ways of the world, he immediately falls in love with the headstrong daughter Mabel of a retired Modern Major General, who just so happens to be a villain from the Pirate King鈥檚 past. Chaos ensues as the King seeks revenge.
Setting the story in New Orleans鈥攅specially during Mardi Gras鈥攊s infuses the operetta with an energy and warmth that feels both celebratory and defiant. Ellis' first trip to New Orleans last year was revelatory. 鈥淭he color, the sound, the movement鈥攊t鈥檚 impossible not to be inspired,鈥� Ellis says. 鈥淚 remember telling Warren [Carlyle, the production's choreographer], 鈥楯esus, God, they use so much color here. And the sound.鈥� It really became about celebration. Mardi Gras isn鈥檛 just a party; it鈥檚 an expression of freedom, identity, and joy鈥攅xactly what Pirates! is about.鈥�
Besides its streamlined story, one of the defining features of this revival is how it incorporates material from other Gilbert and Sullivan operettas. Holmes explains that these additions were carefully selected to serve both story and character development. 鈥淚 always felt that the Major General has this iconic number in Act One, but in Act Two, he has a rather dreary ballad that comes at an awkward moment,鈥� Holmes sighs. 鈥淗e can鈥檛 sleep, tormented by guilt over a lie. So I thought, why not give him a nightmare song from Iolanthe to express that? It gave us two major musical moments for him and helped tighten the narrative." And it also gives two-time Tony recipient David Hyde Pierce, as the Modern Major General, more to do.
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Ellis adds that these creative decisions came largely from Holmes鈥� deep knowledge of Gilbert and Sullivan鈥檚 oeuvre. 鈥淩upert was the one always bringing ideas like, 鈥楾his number could work here,鈥欌� Ellis says. 鈥淔or instance, when Jinkx Monsoon was cast as Ruth, we realized we couldn鈥檛 let that character fall away. So Rupert came up with a song from The Mikado that we orchestrated and adapted for Ruth. That鈥檚 just one example of how we pulled in songs鈥攅verything had to stay true to Gilbert and Sullivan鈥檚 spirit, but we were flexible on style and tone.鈥�
Ellis emphasizes that while the core of Gilbert and Sullivan script was respected, 鈥渆verything else started changing鈥濃攆rom jazzy infusions to fresh character moments鈥攖o suit the vibrant New Orleans-inspired reset.
The team also worked hard to deepen character introductions and engagement early in the show. 鈥淔rederick doesn鈥檛 have a solo in the original first number, which seemed unfair,鈥� Holmes says. 鈥淪o we added a celebratory, hand-clapping announcement song for him, adapted from Iolanthe again, to highlight his liberation and set the tone.鈥� Similarly, the Pirate King gets a more commanding presence from the start. 鈥淪cott, Warren Carlyle, and David Rockwell really gave him the entrance moment he deserves.鈥� As played by a bare-chested Ramin Karimloo, the Pirate King now swings in from a rope.
Ellis admits that 鈥渆very time we tried something, I was worried it wouldn鈥檛 work,鈥� he laughs. 鈥淏ut each time, it did鈥攕o we pushed further, adding more jazz elements or deeper character work.鈥�
One of the key ways this production reimagines Pirates! is through its treatment of the female characters, who have historically been portrayed as one-dimensional figures due to the gender norms of the 19th century. Holmes elaborates on this point: 鈥淚nitially, I imagined all the women as coming from Mount Holyoke鈥攁n elite, academic background鈥攂ut I realized that to truly capture the essence of New Orleans, they needed to represent a broader cross-section of the city鈥檚 diverse population. They are representing New Orleans itself. They鈥檙e not fragile, giggly characters; they have their own power, their own stories.鈥濃�
One of the landmark reinterpretations in this revival is Jinkx Monsoon鈥檚 portrayal of Ruth, the Pirate Band's long-suffering nursemaid who dreams of marrying her charge to secure her position in society. Holmes was especially intent on giving Ruth more emotional depth and agency. 鈥淚 always felt Ruth was never handled properly,鈥� Holmes admits. 鈥淥nce she鈥檚 dismissed, she hangs around, because she鈥檚 around for 'Cat-Like Tread.' But in most productions, if she鈥檚 lucky, she pairs off with one of the pirates without dialogue, or maybe she pairs off with the Pirate King without any explanation. It鈥檚 just for the last number they sing.鈥�
For this production, Holmes rewrote the lyrics to "Alone, and Yet Alive" from The Mikado to give Ruth a standout number in Act II. Holmes describes it as a 鈥渘umber that you might have expected to find in a Golden Age musical comedy, for the woman who says, 鈥業鈥檓 still here and I don鈥檛 even know why, not knowing when to leave the party.鈥欌� Monsoon鈥檚 portrayal is intended to bring a sharp wit and heartfelt vulnerability to the role, making Ruth not just comic relief but a fully realized character whose story feels central to this lively new take on Pirates!
Aside from the more grounded portrayal of feminine strength, one of the most striking aspects of this revival is how it 鈥渄e-Britishifies鈥� the show. This production omits the quintessentially British icon of Queen Victoria herself, whose presence at the end of the original operetta anchors the story firmly in its Victorian origins. That regal figure, emblematic of 19th-century British societal structure and decorum, is absent here, allowing the story to free itself of its historical constraints. Instead, the focus turns to themes of community, individual identity, and celebration of differences that resonate universally.
Ellis and Holmes are clear this Pirates is not for purists. 鈥淚 think this is a very easy to enjoy introduction to the illogical logic and the gorgeous tunes of Arthur Sullivan,鈥� Holmes explains. Holmes marvels at the flexibility of Sullivan鈥檚 melodies, noting how well they adapt to various musical styles, from Calypso to jazz to Broadway musical comedy. 鈥淪ullivan鈥檚 tunes are so well written that you can imagine them being sung by Harry Belafonte or nestled into a Golden Age musical,鈥� Holmes enthuses. This versatility allowed the creative team to experiment and innovate, creating a score that honors tradition while speaking directly to modern ears.
On the collaboration behind the scenes, Ellis emphasizes the creative synergy that propelled the revival forward. 鈥淲e all had such a good working relationship鈥擶arren, [orchestrator Joseph Joubert], Rupert, myself鈥攊t really felt like a collective journey,鈥� he says. 鈥淭here was a lot of back-and-forth about pacing and tempo鈥攕ometimes Warren and I would debate whether a number should be a few beats faster or slower because it completely changed the energy. It鈥檚 those kinds of details that can make or break a show, and everyone was so dedicated to getting it just right.鈥�
Roundabout Theatre Company鈥檚 involvement in this production is more than a staging; it鈥檚 an embodiment of their mission to 鈥渃elebrate the power of theatre by spotlighting classics from the past, cultivating new works of the present, and educating minds for the future.鈥� Pirates! The Penzance Musical is a hearty try at exemplifying all three sides of that triad.
Ultimately, Pirates! The Penzance Musical is a declaration that classics need not be locked away in glass cases. Through inventive adaptation, thoughtful storytelling, and energetic musicality鈥攁rtists should be allowed to try new things, rather than being held to previous interpretations that were locked in at the initial point of creation. This production offers a fresh, accessible entry point to the world of Gilbert and Sullivan, and that is always something to celebrate.
