The latest Broadway remake of Gilbert and Sullivan’s ‘The Pirates of Penzance,’ starring David Hyde Pierce, relocates the story to post-Reconstruction New Orleans, infusing the production with a jazz-influenced musical style while altering its tone. Despite the vibrant new setting, the adaptation struggles to maintain the dry wit and satire of the original, especially in the characterization of the English gentry and the handling of the satirical elements. The musical features a mix of jazz, blues, and other musical styles, with notable performances by Ramin Karimloo as the Pirate King and Jinkx Monsoon as Ruth. The production, directed by Scott Ellis and adapted by Rupert Holmes, integrates aspects of New Orleans culture, though some lyrical changes fall short of Gilbert’s original sharpness. Although some elements clash with the original operetta’s style, the production still showcases the timeless appeal of Gilbert and Sullivan's work, suggesting a possible future for the operetta in New Orleans.

Gilbert and Sullivan’s ‘The Pirates of Penzance’ has been adapted into a new Broadway production set in post-Reconstruction New Orleans, featuring David Hyde Pierce in a standout performance as Major-General Stanley.

The adaptation, directed by Scott Ellis and written by Rupert Holmes, places the operetta in a French Quarter theater, reflecting New Orleans’ historical ties to piracy, but this shift requires significant alterations to the original tone.

The production introduces a diverse musical palette, incorporating elements of jazz, blues, Dixieland, and other styles, which are crafted by music director Joseph Joubert and orchestrator Daryl Waters, though some lyrics lose the sharpness of Gilbert’s original work.

Key performances include Ramin Karimloo’s energetic portrayal of the Pirate King and Jinkx Monsoon’s campy, saloon-wench version of Ruth, with a strong ensemble performance enhanced by Warren Carlyle’s choreography.

The humor and satire of the original are somewhat diluted in this adaptation, especially the critique of the English gentry, replaced by a new finale celebrating America’s immigrant heritage, which lacks the original's comedic punch.

Despite the shift in setting and tone, the production underscores the enduring appeal and adaptability of Gilbert and Sullivan's work, suggesting its potential success in a new cultural context.

David Hyde Pierce’s performance is highlighted for its effective deadpan delivery, which contrasts with the more frenetic energy of the production, maintaining the focus on the cleverness of Gilbert’s verse.