There’s something wonderfully full circle about sitting in the audience of Hayes Theatre Co’s production of The Pirates of Penzance at The Foundry Theatre. This was the first musical I ever saw when I was five years old, and like many Australian theatre lovers, my memories are tied closely to the iconic Essgee production starring Simon Gallaher, Toni Lamond and Jon English. Walking into this new reinterpretation, I was nervous. Could a stripped-back, modernised version possibly capture the magic and absurdity of the beloved operetta? Thankfully, my concerns disappeared almost immediately.
Gilbert and Sullivan’s nearly 150-year-old comic operetta remains gloriously ridiculous. Frederic, having completed his apprenticeship to a band of pirates, falls in love with Mabel, the daughter of the blustering Major-General Stanley, while misunderstandings, sentimental pirates, hopeless policemen, and impossible logic collide in an increasingly absurd fashion. It’s delightfully nonsensical, and in the hands of this company, it becomes a fast-paced celebration of theatrical ingenuity.
This reimagined production cleverly condenses the sprawling operetta into a five-performer whirlwind of costume changes, role swapping and updated humour. The refreshed lyrics and contemporary references never feel forced, instead breathing fresh life into material that could easily feel dusty in lesser hands. Director Richard Carroll embraces the chaos wholeheartedly, finding inventive comedy in every corner of the production while ensuring the story never loses momentum. Alongside musical supervisor Victoria Falconer, the pair have reinvigorated this classic into something that feels sharp, playful and completely accessible for modern audiences.
The cast of five are extraordinary. Watching them bounce between multiple characters with split-second precision becomes part of the evening’s joy. Sarah Murr is endlessly entertaining as Barry Mundi, the Police Constable and a host of additional characters, throwing herself into every comic beat with infectious energy. Maxwell Simon anchors the production beautifully as Frederic, bringing sincerity and warmth amidst the surrounding chaos.
Jonathon Holmes is superb as the Major-General, delivering the famous patter songs with precision while also serving as the production’s onstage musical director, playing keys for much of the performance. It’s an impressive balancing act and one he handles effortlessly.
Jay Laga’aia is clearly having the time of his life as the booming Pirate King before hilariously transforming into one of the young maidens, complete with Victorian dress and full commitment to the gag. Meanwhile, Brittanie Shipway is nothing short of sensational. Her rough-and-ready Ruth is wonderfully grounded and funny, before she pivots seamlessly into the sparkling and deceptively innocent Mabel. Vocally, she is stunning, soaring through the demanding coloratura passages with apparent ease.
Audience participation only adds to the hilarity, creating an atmosphere of joyful unpredictability that perfectly suits the material. This production understands exactly what makes The Pirates of Penzance endure: not just the music or the silliness, but the sheer fun of live theatre. Hayes Theatre Co has taken a beloved classic and refreshed it for a new generation without losing its heart. It’s clever, chaotic and outrageously entertaining.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world and try new gins.
The Pirates of Penzance runs for 2 hours and 20 minutes (with a 20-minute interval) and plays at the Foundry Theatre through 7 June 2026. Tickets are available through the Foundry Theatre.
Disclosure: The Plus Ones were guests of IP Publicity
Image credit: John MacRae
