In the late 19th century, British operetta duo W.S. Gilbert and Arthur Sullivan found unexpected success in America with “H.M.S. Pinafore.” However, without U.S. copyright protection, their work was widely performed across the States without financial benefit to them. By the time their official company arrived in Manhattan in 1878, numerous pirate versions were already captivating audiences.
This experience inspired their next operetta, aptly titled “The Pirates of Penzance,” which they premiered in New York City in 1879 rather than London to avoid a repeat of the earlier financial disappointment. Known for their sharp satire and business savvy, Gilbert and Sullivan made a strategic move with this premiere location.
Among their thirteen Savoy operas, “Pirates” has enjoyed remarkable longevity, frequently returning to Broadway stages. Notably, the 1981 revival by The Public Theater, featuring Kevin Kline and Linda Ronstadt, became the longest-running production of the work to date. Its lasting appeal is a testament to Gilbert’s witty librettos, Sullivan’s engaging scores, and audiences’ enduring connection to classic theater.
The newest Broadway version, which debuted Thursday at the Todd Haimes Theater, reimagines the operetta with a jazzy New Orleans flair and a revised title: “Pirates! The Penzance Musical.” While David Hyde Pierce’s performance as Major-General Stanley remains a highlight, the production’s tone shifts noticeably. It carries a frenetic energy that contrasts with the original’s subtle humor and refined wit.
Adapted by Rupert Holmes and directed by Scott Ellis, this iteration places the narrative within a French Quarter theater, cleverly linking Louisiana’s historical ties to piracy with the story’s themes. However, this relocation requires extensive adjustments to the plot and injects an optimistic moral angle, marking a significant departure from the Victorian setting and sensibility.
