Review:
Pirates of Penzance
Handlebar HQ
18/03/2026
On a quiet Wednesday night, I ventured down an Adelaide laneway behind the deserted Hampshire Hotel to find a warehouse on Andrew Street housing Handlebar Adelaide. Inside, with a bar ready and seats arranged in a mock theatre setting, producer Emma Knights took to the piano to open Adelaide’s version of Pirates of Penzance, the 1879 farce by Arthur Sullivan and W.S. Gilbert.

The plot is well known: Frederic, released from his apprenticeship as a pirate on his 21st birthday, discovers he was born in a leap year and must wait another 63 years to be free. What follows is delightful mayhem involving pirates, police, Mabel (his love interest), and Ruth, the pirates’ maid-of-all-work.
This cleverly adapted production condenses the show into a captivating one-hour performance that held the audience’s attention throughout.

The opening, with pirates cycling in on a handlebar trolley, immediately showcased the ingenuity of the direction and set the tone for a production designed to work in almost any space.
Andrew Crispe’s Pirate King was a standout—swashbuckling, charismatic, and vocally commanding, leading his band of merry men with confidence.

Frederic, played by Andy Turner (who also directs), struck the right balance as the earnest yet slightly naïve hero. Turner’s vision to transform Pirates into a portable one-hour production is impressive, and his experience—trained at the Elder Conservatorium and Luxembourg Conservatoire—was evident in both performance and direction.

Joanna McWaters’ Mabel was exceptional. A seasoned lyric soprano, she handled the demanding vocal runs with apparent ease, delivering both power and playful comedic charm. Wendy Rayner’s Ruth was warmly received, her comic timing consistently on point.

Jeff Lang impressed in his dual roles, particularly as the Major General. His rendition of “Modern Major General” was a highlight—part Dad’s Army, part Steptoe and Son—delivered with flair and humour. Lang’s long-standing involvement in theatre and past accolades were clearly on display.
Rohan Watts brought confidence and authenticity to his roles, including a convincing English Bobby accent, backed by decades of performance experience across Adelaide’s music and theatre scenes.

The ensemble maintained strong energy and enthusiasm throughout the performance. While the pacing was occasionally frenetic, the streamlined narrative remained coherent and engaging.

Emma Knights, as both producer and sole instrumentalist, was central to the production’s success. Her accomplished piano work underpinned the entire performance, demonstrating precision, musicality, and a deep understanding of the material. Her reputation within Adelaide’s theatre scene is well deserved.
This production proves that Pirates of Penzance can thrive in an intimate, adaptable format. With such a capable cast, one wonders how it might translate to a larger venue with expanded staging.

Ultimately, what makes this production shine is its commitment, sense of fun, and genuine engagement with the audience. It’s a reminder of the joy of live performance—far more rewarding than time spent on screens at home.
Playful, cohesive, and inventive, this one-hour Pirates of Penzance amplifies the wit and satire of Gilbert and Sullivan into an entertaining fringe experience.
Full of fun, pace, and charm—I’d happily see it again.
A small production, big on talent and laughter.  A skilfully crafted production that delivers charm, wit, and musical excellence.
 
5 Stars
Stephen Foenander
For Adelaide Review Team