” . . . Only the most hidebound traditionalists would mourn the absence of females in the cast, so convincing is this version. I found it quite revelatory . . . this is undoubtedly a hugely enjoyable show, for having an all-male cast has created new opportunities for comedy that are exploited to the full. This production is as much comic ballet as comic operetta, and Lizzi Gee’s highly inventive choreography is often hysterically funny. Not for purists perhaps, but this is a wonderfully fresh take on The Pirates of Penzance. Highly recommended. ”

” . . . the whole play is unblushingly mined for laughs with characterization going little deeper than the epithetical names, some of which have been changed for a modern ear. The humour is as broad as a Carry On film and just about as subtle: where the one may have ‘Bigus Dickus’ the other has ‘Mr Littledick’ (né Shortrod Harebrain). . . Linda John-Pierre’s singing, whilst bringing a nice smoky atmosphere where required and Alice Power’s clever and adaptable set, complete with saucy street names, all add to the feel of a very slick and entertaining production of this little performed classic.”

” . . . Kneehigh brought trademark sideshow moments to the production. Throughout, moods were heightened by some lovely playing on violin, xylophone, mandolin, accordion and double bass, and there were full-throated Cornish sea shanties that gave roots to the drama – After the Soul is Gone, and Hang Boys, Hang interrupting the gloominess of the plot. There was puppetry too, notably Jasper the dog, and a hilarious ‘scratch’- style Charleston danced by the full cast. . . “