Effectively Modernizing a Classic to Reach a New Generation

I cannot remember the last time I laughed as much as I did this evening watching Middle Tennessee State University’s production of The Pirates of Penzance! This show truly highlighted the best of what the music, theatre, and dance departments have to offer with a perfect blend of comedic acting, delightful singing, engaging choreography, and a sweeping orchestra. Before I delve into more specifics, I must state very clearly that the technical direction, the audio mix in particular, of this show was the best I have heard in YEARS, professional productions included. My highest regards to John Underwood, Head of Production and Technical Operations, Scott McElheney, Technical Director, and Chris Collins, Sound Engineer. There was never a moment where the balance between the orchestra and the singers was not well mixed. Also, kudos to MTSU for offering supertitles projected above the stage making this a more equitable experience for all audience members.

Frederic (Tate Burgess) sings to the maidens in hopes of finding someone to love. Photo Credit: John Underwood.

Tate Burgess’ take on Frederic is impressive. From his comedic timing to his soaring tenor vocals, it’s as if this role was written for him. I particularly enjoyed how he kept his character young hearted and believably naïve throughout. He could truly make a career out of the operetta genre alone. Caitlin Clements had an ideal soprano voice for Mabel. Her vocal technique was close to flawless. These casting choices were a clear example of a faculty selecting a show that puts on full display the strengths of their current student artists. Whenever Pirate King, Coleman Stoltenberg was on stage, we could not take our eyes off of him. His commitment to storytelling and the physicality of his Johnny Depp esque approach to the character never faltered. Not to mention his richly toned vocals with intentional flairs of diction choices that gave Don Juan vibes.

Hurrah! For he is the Pirate King (Coleman Stoltenberg)! Photo Credit: John Underwood

The actor who truly stole the show for me, however, was junior, Warren Quandt, as the Major General. In the many productions I have seen of this operetta, the Major General has never been my favorite but he truly did win me over by the opening of Act 2. Quandt has a powerful stage presence and while I would love to see him in a dramatic role like Javert from Les Misérables someday, he fully embraced the quirky humor of this character with ease. His singing of an added verse to modernize “I Am the Very Model of a Modern Major General” with shout outs to TikTok and Skibidi had the audience in an uproar of laughter. He had this challenging patter song down to a fine science. (Choices like this allow a whole new generation to embrace what could otherwise be assumed to be an archaic artform.) I also particularly enjoyed his ballet moments during “Softly Sighs”. I look forward to seeing where his talents may lead him post graduation.

He is telling a terrible story…a lie! Warren Quandt as the Major General. Photo Credit: John Underwood.

Other cast standouts were Emma Dolberry’s Kate and Anna Cox’s Edith. Cox reminded me SNL’s Kristen Wig at times and I was there for it! I appreciated Dolberry’s choice to showcase a belty maiden and then later on delight us with some more operatic vocal technique in her solo lines. It was a nice blending of the old with the new. All of the actresses portraying the Major General’s daughters created unique personalities that shined brightly throughout the production. Gavin Cox’s Samuel was a strong vocal presence from the very opening of the show. Co-Directors Kristi Shamburger and Will Perkins truly had a clear vision for this show and it was very apparent that their cast, crew, and creative team truly understood the assignment. I particularly enjoyed their use of the orchestra prologue to tell some of the backstory through various tableaus as the leitmotif of each character was being played before the actual singing and dialogue even began. There was brilliant use of levels to show social status of the characters and mannerisms that honored the traditional stock roles presented in this classic show that bridges opera and the modern American musical. One thing I was a touch confused on was the lack of British dialect in some of the characters while others had strong and consistent British accents as you typically hear in Gilbert and Sullivan works. Perhaps this was an intentional artistic choice but regardless it was not a huge distraction to enjoying and following the plotline. I did not see a mention in the program of a Choreographer so I’m wondering if the directors also did the choreography but it’s worth mentioning that it was lovely and nicely added to the energy and effective storytelling of this show. A particular moment that stood out was when the daughters used their parasols to form a kind of wedding processional for Frederic and Mabel as they walked off the rocks foreshadowing what was to come.

Conductor, Angela Tipps, offered a true masterclass in leading a collegiate orchestra as she generously made adjustments to the ebb and flow of moments when the ensemble of singers rushed tempos in a few spots. For those unfamiliar with the score, you would not have even noticed due to her nuanced ability to pivot as needed. Music Director, Joseph Walker aptly prepared the singers to deliver understandable diction throughout all their singing. The versatile set design by Rachel Oppmann did not disappoint. I was particularly impressed by the pirate ship pulled on by Ruth (Cecilia Lovelace) at the start of Act 1, the run-down property of the “inherited” ancestors, and the nod to Dr. Who with the police phone booth. The attention to detail when it came to the costumes was also a highlight of this production. Costume Designer, Tommy Macon outdid himself in the color pallet pairings between the maidens and the pirates that eventually steal their hearts.

With Gracie Lynch at the helm as Stage Manager, the transitions of this show were absolutely flawless. There was never an awkward moment of waiting for what came next. I was beyond impressed by the seamlessness of the whole show. This is collegiate theatre at it’s best and it deserves to be celebrated! If you are in need of a joy filled evening at the theatre, I cannot recommend going to see this production highly enough. The Pirates of Penzance is showing November 6-9, 2025 at MTSU’s Tucker Theatre. You can find out more information at: Pirates of Penzance – Department of Theatre and Dance.