Dr Trevor Jones Spills the M-Tea on His Latest Voyage in THE PIRATES OF PENZANCE
Never in my wildest theatrical daydreams did I imagine I’d see Dr Trevor Jones—one of Australia’s most beloved cabaret performers—turn up in not one, but four roles in THE PIRATES OF PENZANCE while simultaneously musically directing the entire show. Yet, here we are, amidst a tour that reimagines Gilbert and Sullivan’s beloved classic for a savvy, 21st-century audience. From the moment I caught wind of this five-person adaptation, I’ve been wondering: how on the Seven Seas do you cram an entire fleet of pirates, maidens, and moustachioed constables into such a lean ensemble, and still keep that signature G&S sparkle?
In this exclusive chat, Dr Trevor Jones spills the M-tea on the secrets behind his high-wire act as both performer and musical director. He speaks candidly about everything from the frantic costume changes (sometimes while still playing piano!) to balancing comedic timing with rapid-fire patter songs—plus his personal history with PIRATES that stretches back to childhood. If you’ve ever wondered how to breathe fresh life into a timeless operetta, prepare to be delighted. Jones’s enthusiasm is infectious. So hoist the sails, dear readers, and brace yourselves: this interview is a rollicking voyage of discovery.
You’re both performing as the Major-General and serving as Musical Director for THE PIRATES OF PENZANCE. How do you balance the demands of playing such an iconic comedic role while simultaneously leading the show’s musical elements?
It’s a tricky balance as I need to fully immerse myself as a performer to make sure I deliver my best performance each night while also making sure I’m listening carefully to all of the music in the show to make sure it stays at the same high level at every performance. I’m at the piano for most of the show (and sometimes changing costumes behind – once even while playing!), but I am always listening out to make sure the harmonies are well-balanced and the cut-offs are clean – which is not always easy when you’re singing as well! I make sure I give myself time to do a thorough warm-up at the piano each night as well as a physical and vocal warm-up. Resting between shows is also a pretty important element of ensuring I can balance all of the demands in such a hectic show!
You’ve had a vibrant career as an entertainer and musician in Australia. How do you feel your background and experience here influence your interpretation of Gilbert and Sullivan’s classic for a modern audience?
For a start, I have been obsessed with THE PIRATES OF PENZANCE since I was 10 years old when I saw the production with Jon English, Simon Gallaher, June Bronhill and Marina Prior. My mum was a big G&S fan and even performed in productions in Perth in her youth, so I was constantly listening to the records of their shows. I was probably the only 10 year old that went around singing Oh False One, you have deceived me, so I already knew this music inside out. I think the nice thing about being able to rework the show for a modern version has been making sure all of the important elements of their work are preserved and respected. This is not an interpretation that mocks the original – instead it celebrates the incredible music, wordplay and absurdity while making some tweaks for a modern audience. PIRATES has always been a part of my life and it’s pretty exciting to think that it is now my debut as a performer!
Richard Carroll’s adaptation promises a “boisterously joyful” take on THE PIRATES OF PENZANCE. In your view, what new layers or surprising nuances does this version add to the original operetta?
There’s a self-awareness to a lot of the reinterpretations that Richard Carroll has done (eg. CALAMITY JANE) that is very fun to be a part of as an actor and as an audience. He gives the actors a little bit of freedom to comment on the action at times, and the few moments in this show that break the fourth wall (by talking directly to the audience) are particularly fun. There are also audience members on stage that effectively become a part of the action (though it is very non-threatening, so don’t be scared to book tickets on stage!!). Richard has been very clever in finding ways to give some of the female characters a bit more agency (or at least a more fun resolution to their storylines!) and the final resolution of the PIRATES story is a bit different from the original – I’m not sure that “they are all noblemen who have gone wrong” really cuts it these days… I also really admire the way he has perfectly adapted new lyrics in the style of Gilbert’s writing – there were times in rehearsals where we actually had to go back and check which were original lyrics and which were Richard’s.
As someone who regularly performs cabaret and one-man shows, what aspects of cabaret performance style—such as storytelling, audience interaction, or improvisation—do you bring into this production?
I think the very fact that I’m sitting at a piano for a lot of the time I’m singing gives it a bit of a cabaret flair – there’s somehow more intimacy and directness when I’m at a piano rather than standing and “being a character”. In lots of ways, the Major General (and the 3 other characters I play in this show) all have aspects of the Trevor Jones cabaret persona! One of the other great skills I’ve developed through cabaret performance is being able to read an audience. Knowing how to respond to their laughter every night certainly informs my performance of the famous Major General song – which Richard has brilliantly rewritten to include modern references. We’ve also incorporated some “cabaret”isms into the rearrangements of some songs with little moments of cocktail piano flourishes, a touch of Kurt Weill flavouring and the occasional obligatory accordion.
You’re a well-known figure on the Australian theatre and cabaret circuit. What does it mean to you, personally, to be part of this small touring ensemble, taking a fresh spin on a beloved classic around NSW and the ACT?
Believe it or not, this is my first professional production as a performer in musical theatre, so it’s very special to me! I’ve done so much work as a musical director and cabaret performer, but to be able to take on these iconic roles in a fully staged production is an absolute joy and a bit of a dream come true! It’s fun to try new things. I’ve just turned 50, and to think that I’m making my debut now is pretty cool! And to be supported by such an excellent cast and team of creatives is incredible.
Musical directing often involves nurturing the cast’s vocal and emotional connection to the score. How do you guide your fellow performers to ensure the music resonates with contemporary audiences without losing its Gilbert and Sullivan charm?
The big thing is making sure the storytelling stays clear – particularly diction and maintaining correct lyrics. It’s a privilege to work with such an incredible cast who are all detail oriented in their performances. To stay on track if something starts shifting a little, I generally just need to give them a little reminder or nudge in a private conversation and they get it back on track straight away. We also chat a lot about maintaining our vocal health (the show is pretty vocally demanding) and I check in with all of the other performers regularly to make sure they are feeling good about their singing.
THE PIRATES OF PENZANCE is famous for its quick wit and patter songs. As someone skilled in comedic timing and musical direction, what do you find most challenging about maintaining the energy and precision demanded by those rapid-fire lyrics?
The main thing is remembering that every audience is different – they all respond differently to the jokes and as a performer, you need to stay engaged with them to make sure you respond to the audience you have at that particular show, particularly with pauses, so you can make sure the next joke doesn’t get lost in laughter. One of the most fatal things is to assume you know where an audience will respond – it’s one of the great joys of live theatre! Every performance is slightly different!
You have extensive skills and experience in piano and vocal performance. Can you share some insight about how those skills enhance your approach to character work and how you merge technical musicianship with theatrical storytelling?
Haha! I could go into way too much detail here as a lot of this was explored in my PhD research! For me, the storytelling has to come first to help inform all of the decisions in my singing and playing. I never want to make decisions about my singing or acting just because they sound good – it all has to come from what the character is feeling or saying at that particular time. I find that always leads to a better performance too – I sound better when I stop worrying about how it sounds! It’s the same with my playing. The piano parts of Gilbert and Sullivan shows are actually quite complex and almost operatic at times, so I have to do the practice to make sure the notes are technically secure under my fingers, but then all of the other choices, like dynamics and phrasing can also be informed by the storytelling and characterisation – it’s actually fun when there are moments when I’m acting like crazy while playing the piano (eg. In the final scene when the Major General is captured by the pirates) and you can hear how that impacts the piano playing.
9. Australia’s live performance scene is known for its strong sense of community and camaraderie. How have your collaborations with fellow creatives here shaped the way you approach both the musical and comedic aspects of THE PIRATES OF PENZANCE?
We have a brilliant team on this show – many of whom are friends from many years of working in this industry. I have known and admired Richard Carroll and Victoria Falconer-Pritchard (the artistic directors at the Hayes and the director and musical supervisor of this show) for a very long time, and when they called with this opportunity to finally work together, I jumped at the chance as I knew it would be a pretty magic combination of humans! I think the way the 3 of us play in so many different areas of theatre and cabaret allows us a really unique language to build our ideas. There’s also a beautiful level of mutual respect for what all of us bring to the rehearsal room – we solve problems by offering ideas until we settle on the what’s best for the whole production. The cast are equally brilliant. I had worked briefly with Brittanie Shipway before, but this has been totally joyous to see so many different elements of her work as a performer – the way she embodies the two characters of Ruth and Mabel (who are complete opposites) is mind-blowing. I actually taught Maxwell Simon at the VCA, so it’s been amazing to now get to work with him as a colleague. I hadn’t worked with Billie Palin or the amazing Jay Laga’aia before, but have admired them both from afar for a long time, so I’ve loved getting to know them and share this crazy, epic show with them!
Looking ahead, what do you hope audiences will take away from this adaptation? And is there a key moment that you’re most excited to deliver each night on tour?
I think the most important thing we want the audience to take away is a sense of joy and delight – it’s something we really need in the world at the moment, and 2 hours of escapism with a lot of laughs and a pretty absurd plot delivered by 5 highly skilled performers certainly brings that. There’s also a certain “wow” factor in the fact that we are able to do this show with such a small cast. For me, it will always be exciting to deliver this version of the Major General song each night on the tour. Richard Carroll’s brilliant new lyrics are hilarious and tailored so beautifully to me as a performer that it is a total thrill to deliver it night after night and basically stop the show.
Catch this production of THE PIRATES OF PENZANCE at one of the venues below for a strictly limited time.
SYDNEY
Venue: Hayes Theatre Co, 19 Greenknowe Ave, Potts Point
Season: Performances from 14 February
Times: Tues-Fri 7.30pm |Thursday 1pm | Sat 2pm and 7.30pm | Sunday 5pm
Price: From $69 Adult, $64 Concession, Under 35’s $55
Bookings: CLICK HERE Phone (02) 8065 7337
MERRIGONG
Venue: Merrigong Theatre Company
Season: 26 – 29 March
Times: Wed, Fri & Sat 7.30pm | Thu 6.30pm | Sat 1.30pm
Price: Premium: $84.00, Adult: $69.00, Pension: $59.00, Groups 8+: $54.00, Under 30s: $54.00, Student: $59.00
Bookings: CLICK HERE
CANBERRA
Venue: Canberra Theatre Centre
Season: 2 – 6 April
Times: Wed-Sat 7:30pm | Sat-Sun 1:00pm | Sun 5:00pm
Price: Premium Adult: $85.90, Premium Concession: $79.90, A Reserve Adult: $75.90, A Reserve Concession: $65.90
Bookings: CLICK HERE
