She is the Very Model of a Modern Major General

Updated Pirates of Penzance at Ithaca College

By Barbara Adams

Arollicking Gilbert and Sullivan evening is just what we needed in this draggedout winter season. Regretfully, Ithaca College’s recent pleasing production ran only one weekend — but both performers and audiences were glad to be back in the Hoerner Theatre again.

Director Ben Robinson (of Opera Ithaca) took a new twist on “The Pirates of Penzance,” setting it in a contemporary seaside resort town — a splendid reason to bring out canvas chaises and patio umbrellas and drench them in stunning sunshine (courtesy of Daniel Zimmerman’s scenic design and Steve TenEyck’s lighting).

Onstage, behind a sandy scrim, Christopher Zemliauskas’ orchestra gamely animated Arthur Sullivan’s music. And no one missed his clever, hilarious lyrics, because (with the help of supertitles), the sound mix was just right.

In W. S. Gilbert’s libretto, the tale begins as Frederic, at 21, is about to be released from his long indenture to a gang of pirates. (His hardof-hearing nursemaid, Ruth, had thought she was apprenticing him to be a pilot.) But since he was born in a leap year, Frederic discovers he technically owes quite a few more decades to the crew — a great discouragement, since he’s just fallen in love with Mabel, one of the Major-General’s many daughters.

An absurd situation is the lusty heart of most comic opera, and here the subtitle tells all: “The Slave of Duty.” In farcical British fashion, Gilbert and Sullivan are sending up a passel of Victorian conventions, duty being just one of them. Frederic loyally reenlists, and the push and pull continues — pirates vs. the local constabulary, eager young pirates vs. blushing young maidens.

A lively cast of 20, colorfully and amusingly clad, spills across the stage. Costumer Amanda Gladu gives each of the pirates uniquely funky casual wear, especially short shorts on the Pirate King, a tall and charmingly boyish Nick Jones.

The young ladies are equally diverse, in one scene all aflutter in frothy pastel peignoirs.

True to traditional gender roles, the sisters are both interested in and wary of the men; only Mabel is bold and follows her heart when Frederic asks for someone, however homely, to love him.

The ensemble work here is excellent, but Anchal Indu Dhir’s Mabel inevitably stands out: she’s vivacious, dynamically present, and vocally dazzling.

No surprise that Frederic (well played by Nick Capodilupo and Ty Benners on alternating nights) is enamored. But while wooing Mabel, he repeatedly has to escape the comical clutches of his excessively passionate former nanny (played alternately by Athena Rajnai and Emily Gregonis).

Beyond the beachfront setting, the main surprise here is that the Major-General is a woman; so effectively, her protecting her bevy of daughters makes sense. Grace Sawyko is humorous in the role (especially when getting that spa massage). But unfortunately, she’s placed too far upstage for the famous “Major-General” song, and her voice, though sweet, is so small that this showpiece is diminished.

While the romantic pursuits are underway, the Major-General tricks the tender-hearted pirates, who, all being orphans, never harm one of their own. They must tussle with the clumsy cops, who bang about in a beach car. Police sergeant Tynan Butler shines, as does the Pirate King’s lieutenant, a handsomely voiced Matthew Amori.

The gentle pirates prove more honorable than most and are finally vanquished by the demand that they honor their queen. But as they’re all conveniently expat noblemen, they’re welcomed back into the commonwealth and will be rewarded and mated. At tale’s end, Frederic joyously weds Mabel, who wears a beach towel veil. All’s well that ends well — and we are delightfully entertained.