Written and Directed by Joan Clevillé

Choreography Joan Clevillé in Collaboration with the Dancers

The measure of treasure is often different for those who seek it. It could easily be gold and silver, but for many, a reunion with a loved one or an inspiration is worth more than a horde of gems and trinkets.

Jessie Roberts-Smith, Dylan Read and Kassichana Okene-Jameson lead Joan Clevillé’s Pirates! with a steady helm and plenty of gold doubloons to discover in this fun and adventurous romp over the high seas. But there’s something more than the treasure that the avaricious Admiral O’Greed is looking for, and it’s hanging right there on Daisy’s neck; a symbol of authority, a whistle.

From the humdrum of a sporting-goods store, transported through a space-altering tent, billed for ages 7 – 12 (though it could easily be accessible to ages five and over), Pirates! offers something for all. Whether it’s Roberts-Smith’s bouncing and scurvy Captain Sandy Rogers or if it’s the downbeat nature of Read’s Tom, tired of the 9 to 5 of retail life, seeking out his passion for writing and creation. The pair are an ideal leading duo, Okene-Jameson’s Daisy more of the ’straight’ performer unsure of their antics initially. Read’s more comedic focus on dance is matched by Roberts-Smith’s enthusiasm and technique, often leading the troupe in ensemble pieces.

Spinning this buccaneering yarn over a series of physical performance scenes, Pirates! is still very much a scripted piece of theatre, with the incorporated dance slid in as separating vignetters of spectacular talent and a richer sense of emotional storytelling. If anything, they somewhat overtake the traditional performance sequences in quality and technique, the entire troupe able to commit themselves to peak physical performances which range from the ludicrous and energetic to the more methodical and even poignant.

It offers an additional dimension to McEwan’s Admiral O’Greed, who thus far has been as Pantomime a baddie as you can get in the Scottish Summer. His cackles and authoritative stance change when dancing alone, revealing a lament (of sorts) for a life lost and the hours spent away from his beloved sister. It’s a solo number, as McEwan twists around the stage in a militaristic fashion, occasionally allowing his guard to fall and his inner child to flourish and play.

There isn’t a physical aspect to the show, which is out of balance, synchronised to a tight degree throughout. Clevillé’s direction and choreography (designed with the entire troupe) are inventive and accessible, impressive without causing distraction or taking away from the scripted elements of the show. As performers Orla Hardie, Pauline Torzuoli and Maya Bodiley may not have enormous roles in the story, their dancing is top-notch and involved, as are the incredible leaps and stands from Akshay Sharma and Kieran Brown.

Breaking the boundary of dance and circus, many of the playful scenes incorporate elements of clown work and aerial leaps: finding themselves lost in a seaweed-filled cave, surrounded by ghoulish slithering zombies complete with live accompanying squelches and slopping sounds from Dylan Read. Another scene, ‘Walking the Plank’, finds our team leaping from the ship’s plank onto a crashmat.

It’s not as lavishly designed as some may expect, but there’s a clean beauty to Matthias Strahm’s design which allows the imagination to fill in the gaps. It’s simplistic and every day, this is a Pirates Cove which any child could make at home without additional cost. It’s warm and inviting, but Emma Jone’s lighting also elevates many scenes into an underworld paradise worth of The Little Mermaid, flooding the stage in vivid message-in-a-bottle greens or oceanic blues.

Firm fun for the entire motley crew, Scottish Dance Theatre raises the sails of freedom and adventure at the Dundee Rep Theatre this weekend for a show like no other: one with tight choreography and a thirst for earnest and clean adventure. It’s a slice of terrific theatre for younger audiences, with enough bite and humour to ensure none of its older audiences feels they’re in the brig.