Theater review: H.M.S. Pinafore

by Esther Coughey of John Garcia's The Column

Who needs a modern cruise liner with an illustrious reputation for exquisite ocean travel when the harmony of classic, combined with a cheeky contemporary nod to Titanic, strikes an elegant chord throughout the magnificent ship that is the H.M.S. Pinafore? No need to spend a fortune on a transatlantic crossing, when one can simply skip across town and experience ICT Mainstage's rendition of Gilbert and Sullivan's H.M.S Pinafore or The Lass That Loved A Sailor (now playing at the Irving Arts Center).

This fourth operatic collaboration by Gilbert and Sullivan is a comic opera in two acts, with music by Sir Arthur Sullivan and a libretto by William S. Gilbert. Opening at the Opera Comique in 1878, it garnered the esteemed recognition of the second-longest run of a musical theatre piece until that time and became an international sensation. Drawing on several of his earlier "Bab Ballad" poems, Gilbert deftly infuses his plot with mirth and silliness. The opera's humor centers itself around the simple theme that love levels all ranks and lampoons the notion of a society based on a system of classes, a theme that still resonates even in a perceived politically correct 21st century culture.

The tale unfolds aboard the ship, H.M.S. Pinafore. The Captain's daughter, Josephine, portrayed with rosy-cheeked sweetness and the voice of an angel by Amber Nicole Guest, is in love with a lower-class "Tar," or sailor, named Ralph Rackstraw (Jack Agnew). Her father, the gentlemanly Captain Corcoran (Scott Bardin) who never, "Well, hardly ever," uses profanity such as, "A big, big D," intends her to marry Sir Joseph Porter, the First Lord of the Admiralty (Jackie L. Kemp). Josephine abides by her father's wishes at first, but Sir Joseph's advocacy of the equality of humankind inadvertently inspires Ralph and Josephine to declare their love for each other and overturn conventional social order. They conspire to elope. However, due to the odious Dick Deadeye, a guileful character, captured with distinction by M. Shane Hurst, the captain discovers the plan. But fear not for the plight of our lovers and others onboard the Pinafore, a surprise disclosure changes things dramatically near the end of the story resulting in "Oh Joy, Oh Rapture Unforeseen."

Under the fair moon and impeccable lighting design of Sam Nance, it should be smooth sailing for the H.M.S Pinafore -- and with shining performances and flawless vocals by Agnew, Bardin, Guest, and Kemp, it very nearly is. Kemp's pompous flirtation with the audience, reminiscent of Tim Curry's splendid portrayal of King Arthur in Spamalot, is a delight, and the chemistry between he and a perfectly cast Kimberly Ann Smith as Cousin Hebe is lovely. The live orchestra, under the skilled direction of Pam Holcomb-McLain, sets the tone beautifully from the very first overture to the last note of the curtain call. An inspired moment when champagne glasses are tossed in the air and adroitly caught by members of the ensemble prompts a spontaneous applause of appreciation from the audience, and the perfect comedic timing, with tongue-in-cheek salute towards Leonardo DiCaprio and Kate Winslet's iconic pose, is worth the price of admission.

Despite the grace and pageantry, there are instances when the ship lists ever so slightly. A mistimed sound cue here, a dropped prop there, fleeting moments of unsynchronized choreography, and a sloppy curtain call. Caught early, these pesky barnacles should not hinder the Pinafore's seaworthiness, and can hardly be considered icebergs powerful enough to sink the ship or make one desire to jump overboard. With her dimpled cheeks and radiant smile that extends to the back row of the Dupree Theatre, Diana L. Barr is a logical choice for the casting of Buttercup. Yet her performance never quite fully embraces and absorbs the likable, sassy, and playful sprite that is Buttercup, described as the "Rosiest, roundest, and reddest beauty in all Spit head." With a resume of adjectives this colorful, Buttercup should be the most adored character aboard. Barr's second act is stronger than her first, but what a shame to miss capturing the audience in her opening moments. If Barr masters this in the coming weeks, she will rock the boat night after night, and that's a very good thing.

Director Dave Schmidt has created a piece that will garner appreciation from both the "salts" and the "lubbers" in the Metropolis. Together with Schmidt's technical direction, Pam Holcomb-McLain's musical direction, and Nancy Roberts Pistilli's simple yet wholly effective choreography he's hoisted from the depths of the centuries a ship that can hold her own against the likes of Prince Caspian's Dawn Treader and Captain Jack Sparrow's Black Pearl.

Bon Voyage cast and crew of the H.M.S Pinafore.