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Photo: Teresa Castracane Photography
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Patrons entering the
Mulitz-Gudelsky Theatre Lab at Olney Theatre Center expecting to see a
traditional set specifically designed for Gilbert and Sullivan’s H.M.S.
Pinafore will be quite stunned.
There’s no facsimile of a saucy ship’s a beauty, no ostensible scenery depicting the ocean blue, and the sober men and true sailors are not attired in stylish 19th century British Navy uniforms. #hocoarts
There’s no facsimile of a saucy ship’s a beauty, no ostensible scenery depicting the ocean blue, and the sober men and true sailors are not attired in stylish 19th century British Navy uniforms. #hocoarts
Instead, you will walk into the
lab that is part playground, part carnival, part slumber party. In this set, imaginatively designed by Tom
Burch, the 10 performers are already strolling about in bright, colorful pajamas and
some crazy slippers, all creatively designed by Alison Siple, playing an
assortment of stringed instruments and serenading the folks with seemingly random
songs as the crowd files in.
Small stuffed animals are tossed
by the actors to the unsuspecting and eventually suspecting patrons during the
hubbub. Some are encouraged to sit in a
large decagon-shaped box in the center of the stage that resembles an above
ground swimming pool. But rather than water, the contents feature a whole bunch
of pillows. Kids jump into this box, and
unprompted, begin having pillow fights with what appears to be their parents,
siblings and other occupants.
On an elevated platform, which
has what appears to be the painting of two portholes—among the very few direct
references to a ship on this set—there is a slide for audience members as well
as some of the actors to utilize as it empties into the pillow-laden box.
Continuing the peculiarities
there is a refrigerator with a sign saying “No Swear Words,” several more beds,
a bar (yes, they’re selling libations during
the show) and other goodies in a canopied concession stand in a corner of the
stage.
Rules are announced and audience
members are invited to sit in the “promenade” area that includes the floor,
benches and the aforementioned set pieces. The actors alert the audience seated
or standing in these areas by hand signals or gentle touches on the shoulders for
them to move to another location as the performers will be occupying that given
space. All this transpires throughout
the 70-minute show adding to the desired commotion.
As if you couldn’t tell by now,
this is clearly a satirical rendering of the popular H.M.S. Pinafore. The jaunty music
was composed by Arthur Sullivan and the book by W. S. Gilbert. It is one of their
Savoy operas that also include The Mikado
and The Pirates of Penzance—the
latter being performed in repertory at Olney in association with The Hypocrites
and The House Theatre of Chicago.
Directed and adapted by Sean
Graney and co-adapted by Andra Velis Simon and Matt Kahler, the production is
chock full of talent, high energy and playfulness that offer the audience, even
for just these 70 minutes, a welcome respite from the world’s events.
Though the aesthetics are
non-traditional to this 19th century work, the production stays true
to the storyline as well as the sparkling musical numbers including the
familiar ones: “We Sail The Ocean Blue,” “I’m Called Little Buttercup,” “I Am The Captain Of The Pinafore,” “Kind
Captain, I’ve Important Information” and “Now Give Three Cheers.”
The performers, who are members
of the Chicago-based The Hippocrites, have taken their repertories around the
country. They play the stringed instruments while they sing, act and bandy
about the stage. Those instruments
include a good dose of guitars, as well as a ukulele, mandolin, fiddle, accordion,
and brief appearances by a flute and a toy piano.
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Photo: Teresa Castracane Photography
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Aside from the unconventional
set and prelude to the show, one immediately recognizes where this was heading
as the rather burly bearded actor Matt Kahler ironically sings the show’s
second number, “I’m Called Little Buttercup.”
What was a male role in the
original work is now a female role for this production and vice versa. It’s not cross-gender acting in which males
are playing female roles but the genders of the characters are reversed. For
example, the character Josephine, the daughter of Captain Corcoran in the
original version, is now Joseph and is played superbly by the charismatic and
talented Mario Aivazian. Captain Cat, a female character in this show, is
played commandingly by Tina Muñoz Pandya.
In keeping with the original, the
comical tale depicts the power of love against the backdrop of class snobbery. Joseph,
Captain Cat’s son, falls for lowly sailor Ralphina Rackstraw (Dana Salem Omar) but
he is duty bound to marry the snooty Admiral Dame Jo-Ann instead (Lauren
Vogel). A twist at the end puts an exclamation point on this mayhem.
The entire cast sings
exceptionally well with an abundance of movement around the stage while playing
their instruments. Ms. Omar’s and Mr. Aivazian’s vocals are particularly
outstanding in their solos.
Rounding out The Hypocrites are
Shawn Pfautsch as Heebies, Eduardo Xavier Curley Carrillo as Kev’n, Leslie Ann Sheppard as Tiffini and Aja Wiltshire
as the “stinky” Dot Deadeye.
Heather Gilbert’s splendid
lighting design and Kevin O’Donnell’s solid sound design as well as the musical
direction by Andra Velis Simon enhance the quality of the production.
There are heaps of laughs, lots
of high jinks, and tons of talent on display is this spoof of a Gilbert and
Sullivan classic.
It’s impossible to speculate if those
men would be turning in their graves if they were to see this parody of their
work. But I can say with a degree of certainty they would be laughing and
having a good time. So will you.
Running time. Seventy minutes
with a one minute intermission.
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