The Pirates of Penzance

Past Production

As Frederic enters the rank of full pirate at the end of his apprenticeship, he and his fellow pirates court the daughters of Major-General Stanley. This sets off a hilarious course of riotous events that pit Frederic against his pirate clan. The Pirates of Penzance is a rollicking show with serious operatic chops.

Seán Curran will direct this exciting interpretation of a Gilbert & Sullivan classic. David Agler will conduct. Bass Kevin Burdette, known for his energy and comedic range, sings the role of the Pirate King in his Atlanta debut.

Sung in English with English supertitles

Cobb Energy Performing Arts Centre

Production courtesy of the Lyric Opera of Kansas City



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$42.50 for Sun brunch

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Get the Feeling


Composer: Arthur Sullivan
Librettist: W.S. Gilbert
Premiere Date: Wednesday, December 31, 1879


Off the coast of England, Frederic, a young man of 21, celebrates the end of his apprenticeship to a band of pirates. Their maid Ruth tells Frederic that when he was an infant, his father requested he be apprenticed to a pilot, but she misheard and brought him to the pirates.

Now that he is no longer a Pirate Apprentice, Frederic believes the Pirate way of life is wicked, and that the crew should consider a respectable lifestyle. Frederic also points out that they are terrible pirates who refuse to harm those who claim to be orphans. The Pirate King claims piracy is comparatively honest to a respectable lifestyle.

Frederic prepares to leave the pirate ship and Ruth begs him to take her with him and marry her. Though he is reluctant to marry her, he agrees and they depart. On the beach, they stumble upon a group of beautiful young women. Upon seeing them, Frederic angrily denounces Ruth for leading him to believe that she is beautiful.

Frederic asks the girls to help him reform from his pirate life.. All reject him except Mabel. She offers Frederic her pity and the two quickly fall in love.

The pirates return to storm the beach and capture the girls, intending to marry them.

Mabel’s father, the Major-General enters and objects to the girls being married against their wills. To save them he claims to be an orphan. The Pirates are sympathetic, being orphans themselves, and release the Major-General and the girls.


At the Major-General’s estate, he laments his lie, afraid that he has brought shame upon the family. The girls try to comfort him. As they do, the Police Sergeant arrives and tells them that with Frederic’s help, he is prepared to arrest the pirates.

Frederic considers this an opportunity to atone for a life of piracy. The Pirate King and Ruth enter and inform Frederic that he was to be apprenticed until his 21st birthday and, as he was born in a leap year on February 29th, he is actually only 5 years old. The Pirate King insists that Frederic honor his sense of duty and return to the pirates. Upon realizing this, Frederic tells the Pirate King of the impending attack.

Before leaving Frederic meets with Mabel to tell her he is actually only 5 years old. They agree to be faithful to each other until Frederic returns. Mabel tells the police that they will have to face the Pirates alone, not knowing the Pirates are planning an attack of their own.

At the Major-General’s estate, the Pirates attack the house. The police leap to defend the Major-General, but are easily subdued. The Sergeant begs them not to kill them in the name of Queen Victoria. Ruth reveals that the pirates are in fact nobility. The pirates free the Major-General out of their sense of loyalty to the Queen. The Major-General, happy to have the girls wed noblemen, offers the pirates their hands in marriage as thanks and everyone celebrates the approaching weddings.

Courtesy of Kansas City Opera

Characters & Cast


young apprentice to a band of pirates


Matthew Newlin

Lyric tenor Matthew Newlin has been a member of the ensemble at Deutsche Oper Berlin since 2013 and has appeared on the greatest stages across the world.


the love interest of Frederic and the daughter of Major-General Stanley


Maureen McKay

Soprano Maureen McKay is praised and celebrated for her silvery soprano and dynamic character portrayals.

The Pirate King

leader of the pirate crew


Kevin Burdette

American bass Kevin Burdette has already impressed audiences on both sides of the Atlantic with his mellifluous voice and strongly dramatic characterizations.


caretaker of Frederic

Victoria Livengood

Victoria Livengood is an American opera singer who has sung leading mezzo-soprano roles both in the United States and internationally

Major-General Stanley

father of Mabel


Curt Olds

Hailed by Opera News as “A wonderful singing actor, as adept in pointing dialogue as in phrasing song,” Curt has an active career in both opera and musical theatre.

Newbie Guide

The Opera Experience

Operas on our mainstage are grand theatrical experiences. You can always expect the unexpected, and for our productions to be presented at the highest quality.


Many operas are in a foreign language. Supertitles are similar to subtitles in a film, except they are projected above the stage. These translations will help you follow what’s happening on stage.

What to Wear

There is no dress code at The Opera and you will see everything from jeans to evening gowns and formal suits. Most people use it as a chance to enjoy dressing up in their own style.

Arriving in Good Time

If you are late, you will be escorted to the nearest late seating area. At intermission ushers will show you to your seat. Plan ahead to arrive with extra time.

Directions & Parking at Cobb Energy Center

Enhance Your Visit

Pre-Performance Talk

Learn about the history of the opera, the composer, and more from artists and opera aficionados. One hour prior to curtain. Free with your ticket!

Learn More

Familiarizing Yourself with the Story

Because of the foreign languages, classical music, and often complex plots, you will very likely enjoy the performance better if you spend a few minutes familiarizing yourself with the story and characters in advance. Some people even like to listen to the music in advance and others prefer to let it wash over them during the show and perhaps look it up afterwards.

Visit our Study Guides Library

How is an Opera Staged?


Actors first audition for roles up to a year in advance, or for more experienced artists, directors also invite them to play a role.


Most of the rehearsals are held in our rehearsal hall, and not the actual theatre. The conductor begins orchestra rehearsals about a week and half before opening night. They have four rehearsals with the conductor, and then the singers are added into the mix.

Sets & Costumes

The Atlanta Opera Costume Shop alters the costumes to fit our singers. Sometimes they do have to make costumes if there aren’t enough, or if there is nothing that fits, etc. Once the sets are in place, the cast begins rehearsing at the theatre. The Opera production staff works with staff at the theatre to get all of the lighting and technical aspects of the production together.

Sitzprobe & Dress Rehearsal

The orchestra comes together with the singers in a special rehearsal called sitzprobe. There are no costumes during the sitzprobe, this is mainly to hear the voices with the orchestra. There is a piano dress rehearsal, when the singers rehearse in full costume for the first time so they can get used to wearing them. Finally, all of the pieces are put together for two full dress rehearsals leading up to opening night.


Arthur Sullivan

Born in London on 13 May 1842, Arthur Seymour Sullivan was a Child (choirboy) of the Chapel Royal. He was the first winner of the Mendelssohn Scholarship, which enabled him to study at the Royal Academy of Music and the Leipzig Conservatory. He returned to England in 1861 and a performance at the Crystal Palace the following year of his incidental music to Shakespeare’s The Tempest made him an overnight celebrity.

Sullivan settled down to the life of a professional musician, teaching, playing the organ, editing and conducting, while at the same time broadening his activities as a composer. The 1860s saw a ballet, a ’cello concerto, a symphony, choral works, several overtures and a raft of chamber pieces, songs, partsongs and hymns. Sullivan’s first comic opera came in 1866 when he set Francis Burnand’s adaptation of John Maddison Morton’s Box and Cox. Originally written for private performance, Cox and Box was so successful that public performances followed, as did a second collaboration with Burnand, The Contrabandista (1867).



W.S. Gilbert

Sir W.S. Gilbert, in full Sir William Schwenck Gilbert, (born November 18, 1836, London, England—died May 29, 1911, Harrow Weald, Middlesex, England), English playwright and humorist best known for his collaboration with Sir Arthur Sullivan in comic operas.

Gilbert began to write in an age of rhymed couplets, puns, and travesty; his early work exhibits the facetiousness common to writers of extravaganza. But he turned away from this style and developed a genuinely artful style burlesquing contemporary behaviour. Many of his original targets are no longer topical—Pre-Raphaelite aesthetes in Patience; women’s education (Princess Ida); Victorian plays about Cornish pirates (The Pirates of Penzance); the long theatrical vogue of the “jolly jack tar” (H.M.S. Pinafore); bombastic melodrama (Ruddigore)—but Gilbert’s burlesque is so good that it creates its own truth. As a librettist, Gilbert is outstanding not only because of his gift for handling words and casting them in musical shapes but also because through his words he offered the composer opportunities for burlesquing musical conventions.



David Agler

David Agler is Artistic Director of the Wexford Festival Opera. He has previously served as Music Director of the Vancouver Opera, Principal Conductor of the Australian Opera, Resident Conductor of the San Francisco Opera, Principal Guest Conductor of the Oper der Stadt Köln, conductor and Administrator of the Spoleto Festival, Artistic Director of the Opera Festival of New Jersey, and Music Director of the Syracuse Opera.

Notable North American opera companies with whom he has appeared include the Santa Fe Opera, Seattle Opera, The Western Australian Opera, The Netherlands Opera, Reggio Emilia, Pittsburgh Opera, Opera Company of Philadelphia, Opera Theater of St. Louis, Edmonton Opera, Manitoba Opera, and L’Opera de Montreal.

As a symphonic conductor, he has led concerts with the San Francisco Symphony, Minnesota Orchestra, Sydney Symphony Orchestra, Winnipeg Symphony, Warsaw Philharmonic, National Arts Center (Ottawa) Orchestra, CBC Vancouver, Netherlands Radio Symphony, Netherlands Chamber Orchestra, Charlotte Symphony Orchestra, San Francisco Chamber Symphony and Kitchener-Waterloo Symphony.



Seán Curran

Seán Curran began his dance training in traditional Irish step dancing as a young boy in Boston, Massachusetts. He went on to make his mark on the dance world as a leading dancer with the Bill T. Jones/Arnie Zane Dance Company, with whom he received a New York Dance and Performance (“Bessie”) Award for his performance in Secret Pastures. Curran was an original member of the New York City cast of the Off-Broadway percussion extravaganza STOMP, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden’s Danstation Theatre and France’s EXIT Festival.

A graduate and faculty member of New York University’s Tisch School of the Arts, Curran now serves as Chair of the Department of Dance. He has over 20 years of teaching experience in modern technique, improvisation, body percussion and composition as a visiting artist at the American Dance Festival, Harvard Summer Dance Center, Bates Dance Festival, Boston’s Conservatory of Music, and over 100 U.S. university dance departments. Curran has created works for The Limon Dance Company, Trinity Irish Dance Company, ABT II, Denmark’s Upper Cut Company, Sweden’s Skänes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy.