BROADWAY SNAP-SHOT
by Russell Bouthiller
Dateline: April 18, 2007
THE PIRATE QUEEN
From the authors of the mega-musicals LES MIS...RABLE and MISS SAIGON comes the latest tuneful epic to hit the Great White Way, THE PIRATE QUEEN. Directed by Tony-winner Frank Galati, this 16th century swashbuckler fills the broad stage of the Hilton Theatre with surf, sweat and heaping portions of Irish Step Dancing.
Commissioned and produced by the folks who launched RIVERDANCE, THE PIRATE QUEEN takes a page from Irish history and sets it to a grand-scale score reminiscent of composer Claude-Michel Schoenberg and lyricist Alain Boublil's astral hits of the 1980s. Richard Maltby, Jr., and John Dempsey share credit for the lyrics. With a book by Boublil, Schoenberg and Maltby (adapted from Morgan Llywellen's novel, "Grania—She King of the Irish Seas."), this new millennium "Poperetta" looks and sounds a great deal like its predecessors of a generation ago.
THE PIRATE QUEEN tacks the tale of Grace "Grania" O'Malley (Stephanie J. Block ), a 16th Century feminist firebrand who not only does battle with men of all rank, but even takes on that other—more famous—"Pirate Queen," Elizabeth I of England (Linda Balgord). And, like her royal counter part, marital politics dictate Grace's fate.
The daughter of tribal chieftain Dubhdara (Jeff McCarthy), Grace is a defiant child, but an invaluable asset on board ship and in battle. Respected by the clan and adored by her father, Grace enjoys the swashbuckler's life along side her true love, Tiernan (Hadley Fraser). Still, to secure an alliance against the British, Dubhdara marries off his daughter to Donal (Marcus Chait), the rakish scion of a rival clan.
Married life does not suit Grace and she longs for her clan and her handsome crewmate, Tiernan. Over time, her union with Donal strains as he grows envious of the loyalty she commands with her countrymen. Using a Celtic loophole, Grace opts out of the marriage which leads Donal to betray her and all of Ireland. Tiernan falls into the hands of the British which leaves Grace no option but to appeal to Queen Elizabeth for his freedom. And, though they are rivals, these two commanding figures discover the common bonds of womanhood.
At the press performance I saw, Block suffered a throat condition and could not play out the show. The dashing young Fraser, however, managed admirably, radiating with his matinee idol looks and vocal prowess. Balgord captivates us with her regal air and sonorous soprano and William Youmans gives a sinister turn as her courtier, Bingham.
Frank Galati stages very exciting action sequences, in particular a rousing storm at sea and his dynamically synchronized fight sequences. Choreography—in this case, musical staging—by Graciela Danieli brims with vigor and force. Carol Leavy Joyce takes credit for the fine Irish dancing, one of the show's best elements.
THE PIRATE QUEEN is certainly a lavish production. Scenic designer Eugene Lee pulls out all the stops with his dazzling tableaus and costume designer Martin Pakledinaz creates perhaps the most sumptuous finery ever to waft the boards. Lighting design by Kenneth Posner illuminates the show's fine detail. THE PIRATE QUEEN, a throwback to the grand style that saved the musical some twenty years ago.