PlanetOut.Com on The Pirate Queen (new pics as well!)

[Popular]

Posted: 10/19/06 at 6:59am

"The Pirate Queen" is a giant show. One of the most expensive musicals ever produced at around $15 million, the spectacle boasts simulated sea battles on massive pirate ships with cannons blasting, special effects waves and storms, pirates fighting through the air á là Cirque du Soleil, and a giant ship's sail crashing down like the chandelier in "Phantom of the Opera."

At the same time, "The Pirate Queen" is a human story that audiences should be able to relate to -- women and gay men in particular. After all, Grace O'Malley fought to be accepted as a military leader at a time when women had to disguise themselves as men to go to sea -- as she actually did. "Don't ask, don't tell and don't show your corset" might describe the 16th-century policy.

"It's about making your own fate as a woman at a time when women had no power," said co-lyricist John Dempsey, who knows a bit about women's empowerment after writing the musical "The Witches of Eastwick" for the London stage and "Zombie Prom" the off-Broadway musical (now a movie starring RuPaul).

It's also about soaring musical themes sung by an international cast of 40. Star Stephanie J. Block is well known to theater fans (known affectionately as "Blockheads") as Elphaba in the musical "Wicked" during its initial San Francisco run and first national tour, and as Liza Minnelli in "The Boy from Oz" with Hugh Jackman (playing gay) on Broadway. McColgan describes the New York auditions for the large ensemble of pirates as "like 'A Chorus Line.'"

"I think the real strength of the show is the music," McColgan says. "The music is glorious."

Irish instruments like flutes and mandolins mix with more common Broadway keyboards and violins to create a soundscape that's evocative and accessible, Dempsey says. The lyricist traveled to Dublin to study Irish orchestration. "Trying to use those instruments in the theatrical setting has proved very challenging, actually," Dempsey said. "But the result, I think is absolutely worth it: It's very emotional and enchanting and exotic all at the same time."

Perhaps the greatest challenge is to balance the grandeur of a national fight for sovereignty on the high seas with the love story that is central to "The Pirate Queen."

"It has to be real and operatic at the same time," Dempsey said. "There need to be moments of incredible intimacy to fill the love story -- which is the engine of this show -- and there has to be a level of reality to it."

Fortunately, Boublil and Schönberg are at the creative helm of this great dramatic ship. Remember how they made you cry for Fantine and cheer for Eponine, Marius and Cosette in "Les Miz"? They're working night and day now to ensure that audiences around the world feel the same depth of emotion for Grace O'Malley and her two great Irish loves, Tiernan and Donal.

McColgan and his wife and producing partner Moya Doherty approached Boublil and Schönberg with the story of Grace O'Malley after creating the international phenomenon of "Riverdance." Natives of Ireland, McColgan and Doherty took pride in one of the first stories of Irish resistance to English domination, a struggle that would continue for hundreds of years into the present generation.

It may be because of that national struggle that Grace O'Malley doesn't enjoy greater fame already, even in Ireland and the UK. "I think she was sort of written out of the history books," McColgan said. "History tended to be written by the victors, and she's well documented as being a thorn in the side of the British."

"The Pirate Queen" actually brings the British and the Irish together onstage in some novel ways. The grand set mirrors the Old Globe Theatre where William Shakespeare staged his plays during the actual era when Grace O'Malley was sailing the coast north of England. Queen Elizabeth makes an appearance, maybe for the first time in a Broadway musical.

Lead actor Jeff McCarthy, who plays the Pirate Queen's father, is proud to present this story -- because he's part Irish himself, and because of the story's positive themes. "These two women come together, face off and find a peaceful resolution to their problems, something that the men were not able to do," McCarthy said. "I'm proud to be part of that kind of statement: There are people on earth who can sit down and negotiate without blowing each other off the face of the planet."

In addition to its political themes, "The Pirate Queen" also showcases relevant social issues. Grace was not shy about taking a lover even when society disapproved, and she endured stormy relationships with strong men -- dynamics gay audiences can identify with. Think of how hard it is to juggle the careers and egos of two powerful people even under peaceful circumstances. "Try doing that with swords," Dempsey joked.
Clearly, this is not Walt Disney's "Pirates of the Caribbean." People may expect to see Johnny Depp and Keira Knightley onstage, based on the title, but make no mistake: "It's not 'Aye, matey! Arrr arrr arr" pirate stuff, with patches over the eyes and parrots on the shoulders," McCarthy assures us.

"It's a little grimier, a little less glamorous, but fun and rousing in its own way," Dempsey adds.

Dempsey credits award-winning Chicago director Frank Galati with setting the appropriately dark, realistic yet magical historical atmosphere with a team of brawny oarsmen -- like the crew of a Viking boat -- who open the show. "Immediately the director tells you: 'This is not "Pirates of the Caribbean." This is something more tribal.' It's a thrilling beginning to the show, I have to say."

The company has spent the last few weeks fine tuning and revising the show in previews, a sometimes grueling process. "The Pirate Queen" is already showing throughout the week, a demanding schedule for all involved, plus it's changing constantly, forcing actors to learn new lines, musicians to master new songs, creative people to build new set pieces and engineers to change intricate lighting plans on the fly.
"It couldn't be a better group of people, a more generous, gracious group," actor McCarthy said. "But still, the wear and tear of a massive project like this is tough."

Tough but essential. At this scale, the cost of failure is enormous. Just imagine all the careers "Rent" and "Wicked" begat, not to mention the sidewalk shirt vendors and eBay auctioneers who would have nothing to sell if it weren't for "Phantom" and "Avenue Q."

Producers are therefore paying close attention to the comments of Chicago critics, who know good theater as residents of America's "second city" of comedy and drama. They're also asking audience members what parts of the story seem unclear in the rush of a live performance, what they want more of, and so on. One grimly comic alteration: They removed a sub-plot in which Grace's father is wounded in the arm and then apparently dies of gangrene off-stage; it proved confusing and a bit gross to imagine.

All the effort is par for the course in a big musical today, as everyone involved understands. Most of Dempsey' previous work was in what he calls "kitchen shows" -- plays about modern everyday life in somewhat more intimate venues -- and he's excited to be creating theater on a grander scale. ("Zombie Prom" had a budget of $1 million. "It was to off-Broadway, I suppose, what this is to Broadway," Dempsey estimates.)

McCarthy starred as Javert in the first Los Angeles cast of "Les Miserables," but he's also energized to be giving life to a totally original Boublil and Schönberg character in "The Pirate Queen."

"I hope it's a big, fat hit for years to come," McCarthy said.

Castcom should help. More than 40 percent of theater tickets are bought online according to McColgan, making it easy for Castcom's many devotees to finally see in person the actors, writers and sound technicians they've spent the last few months getting to know. There's even a Castcom DVD in the works, by popular demand from drama students and their teachers who watch the video diary together.... (wow!)

McColgan is cautiously optimistic he's got a hit on his hands. Regardless, he's proud of what his musical drama company has accomplished.

"We wanted to do something that would transport people to another world," McColgan says. "I believe audiences will come out of 'The Pirate Queen' having had one of the best nights of their lives in the theater. That's what a number of people who've seen it have said."

Updated On: 10/19/06 at 06:59 AM

[CurtainPullDowner]

Posted: 10/19/06 at 8:29am

YES!

Hot Pirates!
The design elements look great!

[TechEverlasting]

Posted: 10/19/06 at 10:13am

"The lyricist traveled to Dublin to study Irish orchestration. "Trying to use those instruments in the theatrical setting has proved very challenging, actually,"

This just doesn't sound right. Why would the co lyricist travel to Ireland to study Irish orchestration? I strongly doubt Dempsey had any involvement at all with the orchestration or choice of instruments. The Playbill credits Irishman Julian Kelley with the show's wonderful orchestrations, and in interviews Claude Michel Schonberg has indicated that he had a lot to say about the choice of instruments. Julian also arranged the numbers and conducts the show. We're supposed to believe he consulted with the colyricist before creating the orchestrations?

[EponineAmneris]

Posted: 10/19/06 at 10:28am

Thank you for pisting these and the article. I can not wait for this show! I've heard mixed reviews, but mostly that once they realllyyy get up and running, have had time to gel, that it will be great! I hope it does well.

[EponineThenardier]

Posted: 10/19/06 at 12:04pm

Yay! Production photos at last! There aren't any more out there that I've missed is there?

[Popular]

Posted: 10/19/06 at 1:51pm

Eponine - if there ARE more, I've missed them too.

Curtain - you're so predictible! LOL Hope you have some tissues with you next week to wipe up the drool.

[SweMozArt]

Posted: 10/19/06 at 1:54pm

How come it is only the guy with the well built chest who is halfnaked?

[CurtainPullDowner]

Posted: 10/19/06 at 1:56pm

Predictable I may be, but you gotta admit that second picture is quite, well.....
Anyone know who the actor dead center is?
He looks very talented.

[SweMozArt]

Posted: 10/19/06 at 1:59pm

Only based on looks he should be the next Tarzan.

[CurtainPullDowner]

Posted: 10/19/06 at 2:02pm

SweMozart, I think you answered your own question, let's hope there's more we just can't see in the pic.

[BreakingTheCircle07]

Posted: 10/19/06 at 2:04pm

I'm not sure who he is, BUT he was SUCH a standout during the performance. His talent holds up his gooooood looks.


Also, pirates fighting through the air á là Cirque du Soleil, and a giant ship's sail crashing down like the chandelier in "Phantom of the Opera."...I have to say that these elements are not as grand as they're making them out to be. The sail was nowhere near the spectacle of the chanelier, even in its speedy heyday. And as for the fighting? No sir. Not only is the above statement untrue but the fight choreography is poorly exicuted.

Updated On: 10/19/06 at 02:04 PM

[SweMozArt]

Posted: 10/19/06 at 2:04pm

I wonder if they do drug tests on Broadway? I mean it really isn't fair to the other musicals if one musical has a Barry Bonds in the leading role.



Updated On: 11/18/06 at 02:04 PM

[Popular]

Posted: 10/19/06 at 2:30pm

The one in the second pic is Nick Adams. The article doesn't say who the one on the ropes is.