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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
- Book
- W.S. Gilbert
- Music
- Arthur Sullivan
- Lyrics
- W.S. Gilbert
- Category
- Operetta
- Age Guidance
- Youth (Y)/General Audiences (G)
- Number of Acts
- 2
- First Produced
- 1879
- Genres
- Comedy, Farce
- Settings
- Multiple Settings
- Time & Place
- mid-1800s
- 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, Includes Young Adult, Adult, Mature Adult, Late Teen Characters, Medium Cast
Context
Fresh off the smashing success of their operetta H.M.S. Pinafore, the unstoppable British duo comprised of composer Sir Arthur Sullivan and lyricist/librettist W.S. Gilbert decided to premiere a new project in New York City. Part of the reasoning for this was the staggering number of illegal productions being mounted in the United States of Pinafore in the days before copyright laws protected British authors in America. The pair decided that they would need more of a physical presence
to read the context for The Pirates of Penzance and to unlock other amazing theatre resources!Plot
Act One
The scene opens on a secluded beach on the coast of Cornwall, England, in the Victorian era. A raucous band of pirates is drinking and making merry ("Pour, oh pour the pirate sherry"). It is also Frederic’s twenty-first birthday, and as he is bound as an apprentice pirate until noon that day, his obligations to the group are almost over. The Pirate King congratulates him on being (almost) a full-fledged pirate, but Frederic confesses to the group that he plans instead to
to read the plot for The Pirates of Penzance and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Female |
Soprano |
|
|
Lead |
Female |
Mezzo-Soprano |
|
|
Lead |
Male |
Tenor |
|
|
Lead |
Male |
Baritone |
|
|
Supporting |
Female |
Mezzo-Soprano |
|
|
Supporting |
Male |
Bass |
|
|
Supporting |
Male |
Tenor |
|
|
Supporting |
Female |
Mezzo-Soprano |
|
|
Supporting |
Male |
Tenor |
|
|
Featured |
Female |
Soprano |
|
|
Ensemble |
Either or Both |
Variety |
Songs
- Overture (includes "With cat-like tread", "Ah, leave me not to pine", "Pray observe the magnanimity", "When you had left our pirate fold", "Climbing over rocky mountain", and "How beautifully blue the sky")
Act One
- “Pour, oh pour, the pirate sherry" (Samuel and Pirates)
- "When Fred'ric was a little lad" (Ruth)
- "Oh, better far to live and die ...I am a pirate king!" (Pirate King and Pirates)
- "Oh! false one, you have deceiv'd me" (Frederic and Ruth)
- "Climbing over rocky mountain" (Edith, Kate, and Daughters)
- "Stop, ladies, pray" (Edith, Kate, Frederic, and Daughters)
- "Oh, is there not one maiden breast?" (Frederic and Daughters)
- "Poor wand'ring one" (Mabel and Daughters)
- "What ought we to do?" (Edith, Kate, and Daughters)
- "How beautifully blue the sky" (Mabel, Frederic, and Daughters)
- "Stay, we must not lose our senses" ... "Here's a first-rate opportunity to get married with impunity" (Frederic, Pirates, and Daughters)
- "Hold, monsters" (Mabel, Major-General, Samuel, Pirates and Daughters)
- "I am the very model of a modern Major-General" (Major-General, Pirates, and Daughters)
- Finale Act I (Mabel, Kate, Edith, Ruth, Frederic, Samuel, King, Major-General, Pirates, and Daughters)
"Oh, men of dark and dismal fate", "I’m telling a terrible story", "Hail, Poetry", "Oh, happy day, with joyous glee", "Pray observe the magnanimity"
Act Two
- "Oh, dry the glist'ning tear" (Mabel and Daughters)
- "Then, Frederic, let your escort lion-hearted" (Frederic and Major-General)
- "When the foeman bares his steel" (Mabel, Edith, Sergeant, Policemen, and Daughters)
- "Now for the pirates' lair!" (Frederic, Ruth, and King)
- "When you had left our pirate fold" ("A paradox") (Ruth, Frederic, and King)
- "Away, away! My heart's on fire!" (Ruth, Frederic, and King)
- "All is prepar'd; your gallant crew await you" (Mabel and Frederic)
- "Stay, Fred'ric, stay" ... "Oh, here is love, and here is truth" (Mabel and Frederic)
- "No, I'll be brave" ... "Though in body and in mind" (Reprise of "When the foeman bares his steel") (Mabel, Sergeant, and Policemen)
- "When a felon's not engaged in his employment" (Sergeant and Policemen)
- "A rollicking band of pirates we" (Sergeant, Pirates, and Policemen)
- "With cat-like tread, upon our prey we steal" (Samuel, Pirates, and Policemen)
- "Hush, hush, not a word!" (Frederic, King, Major-General, Pirates, and Policemen)
- Finale, Act II (Ensemble)
"Sighing softly to the river","Now what is this, and what is that?", "Frederic here! Oh, joy! Oh, rapture!", "With base deceit you worked upon our feelings!", "You/We triumph now", "Away with them, and place them at the bar!", "Poor wandering ones!"
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
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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.
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.
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.
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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