Pirates of Penzance opens in the best tradition of hammy operatic mime, with girls in white dresses pirouetting and pillow-fighting around madly capering pirates. You'd be forgiven for thinking that's all there is to it – but this latest production from the Gilbert & Sullivan Society has some deceptive depths. Under Dylan Morris's direction, characters that could have been cartoonish are developed into real personalities, and the operetta's theme of duty versus love is thoroughly explored.

The production really takes off with the first solo from Gabrielle Haigh as Mabel, singing Poor Wand'ring One; her sheer range and vocal control hold the audience breathless. However, her virtuosity is almost outstripped by the incredible pace of the Major General, sung by Tristan Harkcom. The orchestra, otherwise excellent throughout and energetically conducted by Alan Bowman, can't quite seem to keep up with his signature solo. First prize for theatricality must go to James White, who makes a gloriously technicolour Pirate King. His performance could be improved by a little more vocal confidence, but he sings valiantly when backed by his marauding crew.

It's a shame that some of the more plangent moments, such as the Major General's Sighing Softly to the River, are spoilt by garish lighting. As a general rule of thumb, the audience should be able to tell the difference between dramatic effects and somebody accidentally leaning on the lighting desk. Some performers also struggled to be heard at times – a little more volume wouldn't go amiss. Apart from that, the cast dealt well with the occasional upset, most memorably when Mabel's skirt made a sudden bid for freedom. The costumes (although apparently fragile) are beautifully designed, staying firmly within the original Victorian aesthetic.

What really makes this show is the chorus. From the pirates creeping through the audience to the Major General's daughters spinning at high speed, they never miss their mark. The cast as a whole is brilliantly on point, and especial credit must go to Oliver Clarke, playing Samuel, for some magnificent singing. However, it was the small band of policemen who stole the show in the end, with superbly awkward choreography and the inspired idea of communicating only through plainchant.

Pirates has been notable this term for its very strong press campaign – but can it live up to the hype? The answer is a resounding yes. This is the very model of a modern Gilbert and Sullivan.

The Pirates of Penzance runs at West Road Concert Hall until the 8th of February.