A Pirate’s Life for Me! Maxwell Simon on THE PIRATES OF PENZANCE
Few works in the musical theatre canon have endured quite like The Pirates of Penzance.
Gilbert and Sullivan’s beloved comic opera — first performed in 1879 — has proven itself remarkably elastic across the decades, from its storied Broadway revival in 1980 to countless regional and community productions that have made it a rite of passage for performers and audiences alike. Its infectious melodies, razor-sharp wit, and that irresistible blend of the absurd and the heartfelt continue to make it one of the most produced works in the English-speaking world.
But Hayes Theatre Co.’s production, directed by Richard Carroll and musically directed by Victoria Falconer, takes the original mega-musical and does something genuinely audacious with it — re-wiring, re-booting, and gloriously reducing it to just five performers, who between them play pirates, lovers, sisters, Major-Generals, and everything in between, transforming at breakneck speed before your eyes. After a sold-out extended season at Hayes and tour, this acclaimed and irreverent adaptation now makes history as the first Hayes production to land on the Foundry Theatre stage — and it arrives madcap, hilarious, and bursting with invention.
Stepping into the role of Frederic within this breathtaking theatrical feat is Maxwell Simon.
A graduate of the Music Theatre program at the Victorian College of the Arts, Maxwell is one of Australian musical theatre’s most versatile talents. On stage, his credits speak for themselves: he has performed in the global juggernaut Moulin Rouge! produced by Global Creatures, covering both Christian and The Duke; originated the role of Bjorn Ulvaeus in the national tour of Muriel’s Wedding The Musical for Global Creatures; played Greg Connell in The Boy From Oz for The Production Company; and appeared as Ex in Bananaland for the Sydney and Brisbane Festivals. Behind the scenes, he has composed original music for Melbourne Shakespeare Company productions including Adventures in Neverland and Robin Hood.
What draws you to this production of Pirates of Penzance specifically?
Maxwell: Originally it was the creative team. I’d been a fan of Richard Carroll’s for a while and had been very keen to work with him. So when the opportunity first came up I very quickly jumped on board. Coming back for a second time, as well as getting to work with the amazing team I’d worked with last time, I was excited to take on the challenge again. I learnt so much the first time we did this show and I was excited to see how id grow as a performer revisiting this mammoth show!
How familiar were you with Gilbert and Sullivan before signing on the first iteration of Pirates were you a fan, or was this new territory?
Maxwell: I was not very familiar with G and S when I first signed on. I knew who they were and had heard some of their work but I hadn’t done a deep dive into them. It has been really fun getting to know them and exploring their work.
Richard’s adaptation reduces the cast from ten-plus to just five — what was your first reaction when you understood the scale of that challenge?
Maxwell: Luckily for me, I am the only cast member who only plays one character (except for a very small cameo at the end of act one) so I wasn’t too affected by it. But the rest of the cast are working HARD! I’ve just been amazed by the talent of everyone to be able to differentiate each character and also have the stamina to do the job of five people each. This production also has the cast playing all the music. So… on top of everything else, there’s that as well.
You’re returning for the revival at the Foundry — what does it feel like to come back to a show after it’s had time to breathe and tour?
Maxwell: It’s always interesting coming back to a show after a break. I tend to find different layers. It’s like my subconscious has been tinkering away at it while I haven’t been thinking about it. Also I’m a different person now than I was when I did it last time. That always changes the way you relate to a character.
Is there anything you’re doing differently in the revival, or anything about your character you understand better the second time around?
Maxwell: There have been a few little changes to the show. Nothing massive, just little tweaks here and there. In terms anything I’m doing differently, I’m actively stressing a lot less. Last time we did the show I was teaching myself piano for the show and that was a lot. Now I already know all the piano so that makes it a lot easier.
What’s the dynamic like in an ensemble of five, where everyone is so exposed and so dependent on each other?
Maxwell: This show truly feels like a team sport. We’re all in it together and no one can drop the ball. It’s a lot of fun and a lot of silliness.
Frederic is described as earnest to the point of absurdity — how do you play sincerity inside such a heightened comic world without winking at the audience?
Maxwell: I think the key is to just play it for truth and let the writing do the work. The writing is so funny and I find if I try to let the audience know where the jokes are that kills the jokes.
Gilbert and Sullivan have a reputation for being either beloved or intimidating to audiences — what do you think this production does to break down that barrier?
Maxwell: Richard’s adaptation does some great work making the show feel more relevant to a contemporary audience. The language in Gilbert and Sullivan can at times be strange to a modern ear so we’ve all worked hard to make it clear what’s being communicated. That way the audience is free to enjoy the language. It feels like we represent who these people would be in modern without straying from what the text asks of us.
What do you hope Australian audiences take away from this version of Pirates?
Maxwell: I hope the show leaves people pondering the importance of community, art and what it means to be a good person, but above all I hope audience have fun and laugh!
The Pirates of Penzance is playing now at the Foundry Theatre, Sydney.
Click here for tickets and more information.
