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The Pirate Queen
Book by Alain Boublil & Claude-Michel Schonberg
Music by Claude-Michel Schonberg
Lyrics by Alain Boublil and John Dempsey
Based on the Novel “Grania – She King of the Irish Sea” by Morgan Llywelyn
Produced by Moya Doherty & John McColgan
& Broadway In Chicago
Directed by Frank Galati
Choreographer Mark Dendy
Musical Direction by Julian Kelly
At the Cadillac Palace Theatre
151 W. Randolph
Chicago, IL
Call 312-902-1400, tickets $30 - $83
Tuesdays at 7:30 PM
Wednesdays at 2 & 7:30 Pm
Thursdays at 7:30 PM
Fridays at 8 PM
Saturdays at 2 & 8 PM
Sundays at 2 PM
Running time 2 hours, 45 minutes with intermission
Through November 26, 2006
Irish epic sails as a magnificent artistic achievement!
In the much anticipated World Premiere that opened Sunday, October 29, 2006 at the Cadillac Palace Theatre in Chicago, The Pirate Queen is a superb epic musical drama that presents as an opera. This is a major triumph for the Riverdance producers, Moya Doherty and John McColgan and the creators of Les Miserables and Miss Saigon, Alain Boublil and Claude-Michel Schonberg. I can’t remember being as thrilled as I was with this sweeping, powerful phenomenon. This is a great musical that will be a world-wide smash hit! It has everything we expect from a musical: gusty, soaring melodies with majestic large haunting tones sung exquisitely with marvelous sets, lighting and costumes and a compelling book with charismatic and empathetic characters, riveting dances and enough scope and spectacle to impress.
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The Pirate Queen is a musical adventure celebrating the legendary Irish Chieftain Grace “Grania” O’Malley. Based on her real-life story, The Pirate Queen depicts Grania who is an Irish patriot, sailor, mother, lover and pirate who was a heroine to and part of Irish folklore. She did have an audience with English Queen Elizabeth I after leading the Irish rebellion against the British. The show features an Irish motif that becomes a sweeping musical score with hints of Les Miz with a distinct fresh feel. The classic storytelling is peppered with zesty traditional Irish step dancing and Celtic rhythms and songs to create a fresh new musical that is an historical romance and a timeless saga. Boublil and Schonberg have taken musical structures and styles from Les Miz but they have created fresh music laced with a haunting Irish feel from flutes, whistles and Uilleann pipes to enhance the depth and tone of the epic. These sounds contain a grandeur that is memorable and engaging.
The Pirate Queen is a collaborative effort that contains world class direction from Tony Award director Frank Galati, with fabulous sets by Eugene Lee, lighting by Kenneth Posner with superb costume designed by Martin Pakledinaz. These artists have created a visually stunning spectacle that looks as good as it moves, sings and dances.
The compelling story opens in Clew Bay in the west of Ireland in 1588 with the launching of Clan O’Malley’s newest vessel captained by Chieftain Dubhdara O’Malley (Jeff McCarthy in rich voiced strong performance). Woman were thought to be bad luck on board so Grania (Stephanie J. Block) (Dubhdara’s daughter) disguised herself as a boy so she can be apart of the crew. Tiernan (the strong voiced Hadley Fraser) is a childhood friend to Grania and helps her hide from the crew. When a tempest hits the ship, Grania bravely proves her mettle and wins the respect of the crew. Gradually Tiernan and Grania fall in love as the two pirate the seas and wreak havoc on British ships.
In England, Queen Elizabeth I (Linda Balgord in a pure operatic voice) and her minister Lord Richard Bingham (William Youmans) hear of Grania’s exploits and want her subdued. Elizabeth considers herself the Queen of Ireland also. She orders Grace O’Malley destroyed.
Meanwhile, Ireland is in turmoil and the rivaling Irish clans must stick together to thwart the English invasion. Therefore, Grania is politically enticed by her father to marry Donal O’Flaherty (Marcus Chait) so the two clans can unite. Grania agrees out of loyalty to her father and to Irish interests. But she loves Tiernan who is devastated but remains loyal to the cause.
The boys drink and party in the rousing “Boys Will Be Boys” pub dance song followed by the wedding celebration that sparkles with melodic and breathtaking step dances. Tiernan’s Hadley Fraser nails the emotional wrenching ballad “I’ll Be There” to express his undying love for Grania. Fraser is a major talent who golden voice is heavenly.
We see Grania emerge as the chieftain after she dismisses her marriage in the Irish Brehon Law tradition. Tiernan makes a noble sacrifice to save Grania as the English gain control over Ireland. Grania grows into a respected leader who wins the respect of the English monarch.
Stephanie J. Block is sparkling, commanding and empathetic as the liberating Irish pirate turned wife/mother whose loyalty and honor are admirable. We like her and care what happens to her. Block sings Grania with gusto, grace and strength that turns into one of the finest performances seen on stage in many years. She has defined Grania as hers in a tour de force performance that alone justifies seeing the show.
Linda Balgord plays Elizabeth I as a pompous monarch dressed stunningly. Balgord could tone down her vocals a tad as her classical style seems forced and stilted. The scene where Balgord’s Elizabeth meets with Block’s Grania is beautifully creative as the two strong personalities communicate as equals. Woman can change the world!
The exciting act two contains vivid battle scenes, a celebratory christening event with more Irish dances and enough drama to compel and sustain our interest. The cast of 42 players delivered terrific ensemble work that carried the story forward nicely. This grand storytelling is enriched with the wonderful score that enchants throughout. The romantic elements work as the spirit of love and adventure conquer all. The optimism that the future will bring happy times is expressed in the ringing ending anthem “May Long We Sail the Sea.”
I believe this show is almost ready for Broadway. Once it is tightened a tad and some cuts are made (I’d advise cutting or shorting Bingham’s song and possible one of Elizabeth’s early numbers.) The dances are outstanding, the vocal arrangements and the score terrific. The fighting, the movements and the visuals are polished and stunning. Some transitional clarity at key plot points would serve the show well as would a slightly reduced role for Elizabeth in act one. Also Grania’s reemergence as a leader after her marriage needs clarity. But these are minor tweaks that will be tightened as the show progresses. The show has a strong Irish tone without being an ethnic-centric work. The score has universal appeal and scope that transcends being an “Irish” historical dramatic musical. It is a worthy modern all-sung pop opera that is family friendly.
The Pirate Queen is a major triumph that will quickly become a classic in the tradition of Les Miserables, Phantom of the Opera and Miss Saigon. You’ll be as thrilled as I was with the scope and breath of this theatrical adventure. Excellent story with fully developed characters, filled with robust melodies, sung by fabulous voices in vivid inspired staging equals a fantastic night at the theatre. Get to see this gem before it leaves for Broadway, you’ll be glad you did. Who said the Broadway musical is dead?
Not To Be Missed
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed: October 29, 2006
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