NOTE: I have not read The Man Whose Mother was a Pirate: The Book

From the get-go, The Man Whose Mother was a Pirate establishes its message very clearly; being a pirate rules and being at work sucks. So it’s a little weird that I’m writing this review on my work laptop in the middle of R Bar.

Directed by Sara Brodie, with Music and Writing by Nino Rafael, the play tells a story of breaking out of the nine-to-five and seeking a life that you were made for, not forcing yourself to love a life that you don’t want. It’s a strong commentary on capitalism, hedonism, and looking inside to discover who you really are.

The actors do a fantastic job at bringing the audience into their world, prompting them to sing-along and at times tossing props and instruments so they can pop in with the beat. Sly looks and cheeky winks get the audience comfortable and eager to engage. Encouragement from Nino on the guitar get us all singing along. Set pieces moving in and out of the stage keep us on our toes, never knowing what to expect next. It’s great for the kids who are in constant awe of the ever-changing landscape of the show.

The songs make for easy listening and even easier sing-along. There were times where I caught myself chanting along, despite it not being a designated audience participation moment. The melodies are reminiscent of pirate shanties of old, and wouldn’t sound out of place at the Welsh Dragon Bar on a Wednesday night. The keyboard, guitar, fiddle and wide assortment of percussion options make for a wonderfully sea salty atmosphere that immerses the audience in the mood.

The titular, Man, played by Finlay Morris, feels like a Pixar’d Eddie Redmayne. His movements are lithe and animated, with a wonderful singing voice that brings the songs to life.

The other titular, Mother, is a warm, heartfelt presence in Jo Hodgson’s gravitas. She’s such a calming and safe vibe that whenever she speaks, you know you’re in good hands.

Aimee Sullivan absolutely kills with a series of characters that had me in stitches constantly. Her quick changes in demeanour and commitment to just being silly were a constant delight.

We have a narrator in Mike McKeon, whose clear voice and character ground the story in its grand framework. His accordion play and gravelly voice combine to form an amazing pirate captain.

Isobel Lee, the youngest performer, shines as a bright-eyed spot, holding her own stage presence against the older members of the cast. Her delivery is always spot on, and she slays her fellow performers with lashes of wit and sass.

Last but not least is Stuart Coates, playing Mr. Fat, the main antagonist of the show. He plays a delightful villain, jumping between a capitalistic evil and a pitiable sad boy with ease.

Despite being an adaptation of a book, it never feels like the play is relying on familiarity with it to make its own point. It stands completely on its own peg legs. The music reinvents the story on its won terms, with the constantly charming motifs of Hayden Taylor on piano, the vibrant strums of Nino Rahael, the gorgeously nimble fiddle of Beans Wright and the atmospheric percussion of Andreus Lepper. The ensemble works so well together, riffing off each other’s musical ventures to produce a sound that absolutely encapsulates a pirate adventure.

Supported by creative producer, James Ladanyi, and creative support, Scott Maxim, director Sara Brodie has brought a fully realised musical in The Man Whose Mother was a Pirate. With excellent musical composition from Nino Raphael, the show is a delight for audience members of all ages, and it ends long before the sun goes down – a perfect treat for kids who want an evening of joyous pirate-y entertainment. This is a show that deserves to be seen at festivals across the world.

And it’ll be singing still, until then.

Disclosure: As a somewhat active member of the Wellington performing arts community, I may be quite familiar with a number of the performers in this show.
Having said that, I am not a liar, and there is zero bias in my reviews, shut up.

Also, tickets were provided to me for free by the production. Literally changes nothing, though.