Productions by the Huddersfield Gilbert and Sullivan Society are usually very enjoyable but remain conventional in concept, not straying very far from the Savoyard tradition. So what was this? An Elvis Presley moment in the Pirates of Penzance?

It was definitely there. As the dashing but naive apprentice pirate Frederic, Paul Richmond executed some distinctly Presleyan pelvic thrusts of – shall we say – a somewhat suggestive nature when he encountered for the first time the bevy of beauties that were the brood of Major-General Stanley. The effect was enhanced by his tight leather pirate trousers.

Until then, Frederic’s only female encounter had been with the fairly elderly pirate maid Ruth, so there was a good dramatic basis for this moment of erotic awakening. It certainly adds a touch of spice to this production, directed by David Fletcher.

There is some good choral singing and some amusing choreography – especially involving the hapless policemen who make their entrance in Act 2 – but the strengths of the individual performances are what makes the show. The Huddersfield society draw on a roster of highly accomplished and experienced G and S performers who have the technique and – just as important – the humour to make sense of Gilbert’s absurdities and mock heroics.

Paul Richmond’s spot-on intonation, exceptional clarity of diction and deadpan delivery were as enjoyable as ever, as were the more louche qualities of Ian Grange as the Major General. Bruce Merlin cuts a dash as the Pirate King and Celia Poole was comically effective as Ruth, who transforms from a simpering drudge to a rather swashbuckling, cutlass-wielding lady pirate.

Gerald Tinson did a particularly god turn as the sergeant of police – one of the most entertaining realisations of this role I have seen.

The Pirates of Penzance has some genuinely operatic music, or rather mock-operatic because Gilbert and Sullivan seek to subvert some of the hysterical histrionics of Italian grand opera. This requires genuinely good singing and we had it in particular from the accomplished soprano of Elaine Richmond. There was real musical excellence in her duet with Paul Richmond on Stay, Frederic Stay and the string accompaniment from the band under musical director Colin Akers deserves praise too.

The conclusion of The Pirates of Penzance always strikes me as rather peremptory, but a good-sized first night audience was evidence of the continued popularity of this light opera and it is important G and S remain embedded in our cultural life.

The production continues until Saturday, when there is also a matinee.