Thanks to Mr Depp and his Caribbean shipmates, all things piratical are currently in vogue. A perennial G&S favourite, The Pirates of Penzance has been delighting audiences with its colourful characters since 1879.

As the opening chords were struck and a menacing skull shimmered into view during the promising overture, the audience had much to look forward to. The brightly-lit opening, complete with sword fights and an adorable pirate dog, looked set to put St Albans Operatic Society’s Pirates in a different league.

Unfortunately, appearances flattered to deceive. Despite some truly innovative staging by Yvonne Harding, coupled with extravagant costumes, the company was dogged musically. MD Karen Thorp started as she meant to go on with disappointingly monotonous musical direction that scarcely saw the orchestra move out of second gear. There was a palpable lack of confidence and connection between stage and pit, leading to timing and tuning concerns.

The well-drilled chorus moved well and worked hard to overcome the obvious pit issues, producing some fine ensemble singing at times.

Of the principals, the larger-than-life Pirate King (Ian Rowe) gobbled up the stage with his flamboyance and athleticism, with Charlotte Gregory on form as his comedy sidekick, Ruth.

In contrast, the guileless innocence of Fredric (Oliver Martin-Smith), with his light and tender voice, was refreshing. Penny Grey (Mabel) looked the part, though her coloratura flourishes were conspicuous by their absence, while militia men Jon Harris Bass (Major General) and Julian Wathen(Sergeant) both impressed with impeccable diction.

Michael Moore