Overview

Synopsis

Gilbert and Sullivan’s most popular show, The Pirates of Penzance, is a rollicking, delightfully funny tale of a band of soft-tempered pirates. Mistakenly apprenticed to a pirate (instead of a pilot) by his nursemaid Ruth at the age of eight, the handsome Frederic is now twenty-one and, though quite fond of the group of joyous and fun-loving pirates, chooses to abandon his profession and “lead a blameless life henceforth,” dedicating himself instead to their eradication. Shortly after leaving them, he encounters a gaggle of beautiful maidens (one of whom, Mabel, steals his heart) and their father, the eccentric Major-General. The whole group has a run-in with the pirates themselves before escaping on the false premise that the Major-General is an orphan -- a fact these tenderhearted pirates simply cannot help but take into account, given the fact that the majority of them are orphans themselves and “know what it’s like.” Just as Frederic is ready to lead a band of lily-livered policemen to take out the Pirate King and his men, a secret is uncovered that will change his fate forever, but, naturally, all comes out right in the end. Beloved since its premiere in 1879, The Pirates of Penzance (or The Slave of Duty) is a delightful farce of a classic that is fun for all ages.

Show Information

Lyrics
Category
Operetta
Age Guidance
Youth (Y)/General Audiences (G)
Number of Acts
2
First Produced
1879
Genres
Comedy, Farce
Settings
Multiple Settings
Time & Place
The rugged coast of Cornwall, England, in the mid-19th century.
Cast Size
medium
Orchestra Size
Medium
Dancing
Musical Staging
Licensor
None/royalty-free
Ideal For
College/University, Community Theatre, Large Cast, Professional Theatre, Professional Opera, Regional Theatre, Star Vehicle Female, Star Vehicle Male, High School, Mostly Male Cast, Includes Young Adult, Adult, Mature Adult, Late Teen, Early Teen Characters, Medium Cast

Context

Plot

Characters

Name Part Size Gender Vocal Part

Mabel

Lead

Female

Soprano

Major-General Stanley

Lead

Male

Tenor

Frederic

Lead

Male

Tenor

Pirate King

Lead

Male

Baritone

Sergeant

Supporting

Male

Bass

Ruth

Supporting

Female

Mezzo-Soprano

Edith

Featured

Female

Mezzo-Soprano

Samuel

Featured

Male

Tenor

Kate

Featured

Female

Mezzo-Soprano

Isabel

Featured

Female

Soprano

Chorus of Pirates

Ensemble

Male

Chorus of Police

Ensemble

Male

Chorus of Stanley’s Daughters

Ensemble

Female

Songs

Act I

Act II

A song with an asterisk (*) before the title indicates a dance number.

Monologues

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Scenes

All scenes are the property and copyright of their owners. Scenes are presented on StageAgent for educational purposes only. If you would like to give a public performance of this scene, please obtain authorization from the appropriate licensor.

Key Terms

    A low female vocal range used in opera and musical theatre, often assigned to mature or dramatic roles.

    A male vocal range between tenor and bass, often used for romantic leads, villains, or father figures in opera and musicals.

    The lowest male vocal range, typically associated with characters of authority, wisdom, or villainy in opera and musicals.

    In musical theatre, the script or spoken text of the show, not including the music or lyrics.

    A specific form of language tied to a region or group, used to reveal a character’s identity, background, or class.

    Farce is a comedic style that emphasizes exaggerated situations, improbable coincidences, mistaken identities, and rapid pacing. It often includes physical humor such as slamming doors, frantic chases, or characters hiding in plain sight. Farce is designed to generate nonstop laughter, often prioritizing chaos and absurdity over realistic storytelling.

    The concluding musical or dramatic number that provides resolution and emotional closure for the audience.

    Short for 'legitimate theatre,' referring to traditional stage drama as opposed to musical or commercial performance. The term is also used to describe a classical vocal tone suitable for operatic or legit musical theatre roles.

    The complete text of an opera, musical, or other extended vocal work, including all spoken dialogue and lyrics. The libretto provides the dramatic structure and narrative arc, serving as a guide for both performers and directors to align story and music.

    A dramatic genre with exaggerated characters and emotions, often including music to enhance moral and emotional stakes.

    Short for mezzo-soprano, a female voice type that sits between soprano and contralto, common in opera and musical theatre.

    A light, often humorous opera with spoken dialogue and romantic plots, bridging opera and musical theatre.

    The process of assigning musical parts to instruments in an ensemble. Orchestration helps shape the sonic texture and emotional tone of a score.

    An instrumental introduction to a musical or opera, presenting themes that will appear throughout the production. Overtures set mood and anticipation.

    A literary device that reveals a truth through contradiction, often used in dramatic dialogue and themes.

    Parody is a comedic imitation of a style, genre, or work that exaggerates its features for humorous or satirical effect. In theatre, it playfully mocks conventions, characters, or cultural icons while still relying on audience recognition of the original. Parody can both celebrate and critique its subject, often blurring the line between homage and ridicule.

    Rapid and rhythmic speech or singing, often used in comic opera roles or musical theatre for humorous effect.

    A standardized British accent often taught in actor training for clarity, neutrality, and upper-class character types.

    The repetition of a song or theme earlier introduced in a musical, usually to reflect character change or emphasize emotional development.

    The written music for a theatrical or operatic work, including vocal and instrumental parts. The score is essential for rehearsals and performances.

    The highest female vocal range in classical and musical theatre, often associated with youthful or romantic leads.

    Recognizable character types used across theatrical traditions, such as the fool, villain, or ingenue.

    A male vocal range above baritone, commonly featured in opera and musical theatre for romantic or heroic lead characters.

    Relating to the period of Queen Victoria’s reign (1837–1901), which influenced theatrical style, costume, and themes.

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Themes, Symbols & Motifs

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