@showsiveseen Happy closing performance to @seattleopera and @Seattle Symphony's "The #Pirates of #Penzance" comedic farcical #opera by #GilbertAndSullivan at McCaw Hall. Starring David Portillo. Beautiful soprano from Vanessa Becerra. Review: showsiveseen.com/14154 Director & Choreo: Seán Curran Conductor: David Charles Abell Stage Mgr: Jonathan Moore #showsiveseen ♬ I Am the Very Model of a Modern – The Pirates Of Penzance
Elevator Thoughts (aka Tweet): Happy closing performance to Seattle Opera and Seattle Symphony’s The Pirates of Penzance comedic farcical opera by Gilbert and Sullivan. Starring David Portillo. Beautiful soprano from Vanessa Becerra.
See it if you enjoy musicals and would like to dip your feet in opera. English operas are a rarity!
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? No, but I’m interested to see Pirates! The Penzance Musical.
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes
My Synopsis (No Spoilers): A young pirate apprentice is ready to give up plundering and dreams of leaving the pirate life behind to settle down with a respectable young lady. But once you’ve sailed under the black flag, can you ever truly leave it behind?
Synopsis from the Licensor or Theatre Company: A swashbuckling good time! Ahoy mateys! Get ready for opera on the high seas with Gilbert and Sullivan’s popular piratical comedy. The story begins as young Frederic is due to be released from his accidental apprenticeship to a band of pirates; he dreams of living an honorable life dedicated to love. However, a leap year loophole puts his freedom on the line. When the very modern Major-General’s doting daughters arrive, hearts are promised, vows are made, and eventually pirates are pardoned in this light-hearted comedy. Making its Seattle Opera debut, this production of the family-friendly farce comes to Seattle following rave reviews at The Glimmerglass Festival, The Atlanta Opera, and Opera Theatre of St. Louis. Featuring an exciting cast of operatic talent and the Seattle Symphony Orchestra, you’ll be thrilled with rapid-fire lyrics and toe-tapping tunes.
Type: Opera
World Premiere: No
Several or Few Scenes: Few
Several or Few Settings/Locations: Few
Static (Stationary) or Dynamic Set: Dynamic
Prior Exposure/Knowledge Required: Similar to The Importance of Being Earnest, it helps if you have a knack for understanding old-timey English.
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actor(s): The program indicated the “principals” were union, but it didn’t specifically mention who they were.
Total Actor(s): Too many to count
Perceived Pace of the Show: Medium
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours
Other Rave(s)
- Captions, Clarity, and Craft: I don’t often attend opera, but this experience reminded me of the subtle advantages it holds over musical theatre and live plays. Since many operas are in the public domain, opera companies can often channel more resources into production quality rather than licensing fees … and it shows. I also appreciate the closed captions common in opera. However in this performance, the projection subtitles briefly failed three times. Still, I wish more musicals followed opera’s lead here (Hamilton, I’m looking at you). Captions can be a mixed blessing though as one audience member near me joked that captions sometimes spoil the punchlines by revealing them before the actors say them. Another thing I love about opera is the availability of a clear synopsis in the program. There’s no pre-show Googling required. Theatres, take note!
- Favorite Scene: The choral harmonies in “Hail Poetry” were glorious like I was in a cathedral. “All hail, Divine Emollient!”
- Scenic Design: Scenic designer James Schuette condensed the vast McCaw Hall stage into a more intimate space by framing the opera within a showbiz-style lightbulb arch topped with a grand skull-and-crossbones, draped in heavy, royal-red curtains. As a devoted fan of musical theatre, I always find this classic, live-theatre design particularly irresistible.
- Costume Design: James Schuette was also the costume designer. He curated a feast for the eyes with the actors’ apparel. The pirates exuded a bohemian flair. The ladies appeared affluent and picturesque in picnic-ready attire, complete with parasols and stylish hats. The police officers were crisp and coordinated in matching cerulean uniforms with clubs. Major-General Stanley (played by Thomas Glass) commanded attention in full khaki regalia. He later swapped it for a nightrobe topped with a fez, which was no doubt a souvenir from his far-eastern expeditions.
Rant(s)
- Microphone Volume: The actors could have been amplified more. Honestly, I initially assumed that they didn’t use microphones like at the Seattle Rep next door. But the B-roll production video proved otherwise.
Other Musing(s) and Observation(s)
- Overture: As someone who doesn’t usually attend opera or symphony performances, I felt an immediate air of refined “pinkies-up” sophistication at the overture. Yet, it stretched longer than what I’m accustomed to in musicals. Without a clear view of the orchestra (as you would see in a symphony performance), it felt harder to justify its length.
- Cast Size: The cast felt overwhelmingly large. Perhaps it ensured a wide selection of understudies? If that was true, why are we still seeing an N95 mask on-stage? Oh, Seattle! In any case, the story’s insistence on an improbable number of daughters stretches credibility. Around 10 children, and all happen to be female? Other than the genetic improbability, poor mother!
- Corny Camp: I never realized opera could be so corny and camp. At times, it was almost pandering to the audience. I guess that should be expected since British comedy seems to lean into that direction anyway. Yet, when Frederic (played by David Portillo) unabashedly ogled over Mabel (played by Vanessa Becerra) as she removed her gloves, scandalously revealing her wrists, it brought a genuine twinkle to the performance. Unfortunately, the opera ending felt like a disappointing cop out, as if the story opted for an easy exit rather than a satisfying resolution.
Theatre Company: Seattle Opera +/- Seattle Symphony
Venue: McCaw Hall
Venue Physical Address: 321 Mercer St, Seattle, WA 98109
Dates: October 18 to November 1, 2025
Seating: Assigned Seating
Parking: There’s a paid parking garage across the street or paid street parking. I usually park on Mercer to the West of 1st Ave. If there’s an event in Seattle Center or Climate Pledge Arena, street parking is usually limited and much more expensive.
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Photos: See production photos below by David Jaewon Oh.
Cast and Production Team: See after photos below.
