‘Drunk Pirates’ in downtown Phoenix is a bawdy good time

Outside a nondescript door at downtown Phoenix’s Arizona Center, an assemblage of rapscallions gathers adorned in tricorn hats, bandanas, billowy shirts and jangling jewelry. Some sport feathers and eye patches. It’s not a casting call or costume party, per se; it’s the enthusiastic audience hopping aboard the “Drunk Pirates” comedic voyage. Termed a “high-seas spinoff” of the successful “Drunk Shakespeare” series, the part-script, part-improv romp anchors in Phoenix through Sept. 19 at The Rose Theatre at Arizona Center.

“Drunk Pirates” is the fourth non-Shakespearean production in the drunk theatrical universe, a concept that blends pop culture and comedy improv with classic literature, this one based on the 1833 Robert Louis Stevenson classic “Treasure Island.” The shows have steadily expanded beyond the bounds of the Bard since its first Phoenix performance in 2024. 

“It’s been awesome to see the Valley community repeatedly return to see every show as we expand scripts and stories,” says David Hudson, the co-owner and co-producer of “Drunk Shakespeare.” “We took a leap of faith and fortunately have been welcomed with open arms.”

The “drunk” in the title refers to one actor picked to consume four shots of liquor followed by sober cast members’ attempts to steer the proverbial ship through a hilarious tumult of scripted lines, improvisation and riotous audience participation. 

“Drinking in Shakespeare isn’t anything new,” Hudson observes. It’s “a tale as old as time, as they would say.”

For Hudson and co-founder/co-producer Scott Griffin, it all began in a small Midtown Manhattan bar. They performed Shakespearean adaptations and eventually wove alcohol into the shows. They had no idea the concept would eventually expand to five cities beyond New York City: Chicago, Washington, D.C., Houston, Dallas and Phoenix.

“We knew right away it would be something people liked but didn’t know how much it would grow,” he says.

What hasn’t expanded is the size of each venue. The setting is intentionally intimate, with no member of the audience farther than 8 feet from the stage. Hudson explains that the goal is to make people laugh and connect with stories and performers in a way that doesn’t happen in other art forms.

“We purposefully design the spaces to be small,” he says, “to keep audiences close to the action and to create an environment original to Shakespeare’s intention. In The Globe, people were leaning on the stage and they were part of the storytelling and ambiance. That’s part of the reason for the design.”

On a typical night, the audience, many outfitted in full, themed regalia, is all in on the action. They’re welcomed with a shot as they enter, followed by the option of sipping on themed signature cocktails christened with apt names like Shark Bite, Siren or Dead Man’s Chest. Costumed actors stroll to the stage at the center of the room and introduce themselves with clever aplomb. The “drunk” actor is named, followed by an audience volunteer who steps forward to down a shot as confirmation of the liquor’s authenticity as the crowd bellows a hearty cheer.

“It really creates an environment where people can participate in many ways,” Hudson explains. “You can enjoy proximity or be called up on stage to test the shots. Our productions are unique in that they’re not passive. The audience is highly engaged for a really fun 90 minutes.”

The story unfurls like a Jolly Roger flag o’er an unpredictable vessel on the high seas of swashbuckling improv. At some points, it’s unclear where the story might be headed, but no one cares – they’re all laughing too hard. 

“We give the actors a lot of leeway to find the stuff that’s working night in and night out,” Hudson says. “They have some room to play. The exciting thing is that no two shows are the same; every performance has a unique flow. It differs based on the audience, who is drinking and what they’re drinking. Anything can happen.”

The giggles, guffaws and repeat attendees are a testament to the actors’ skill and a creative process that extends for months ahead of opening night. A New York team workshops the jokes and cues to solidify the story, then the Phoenix crew rehearses for three to four weeks. Many of them have been with the local company since the beginning.

“The rehearsal process is never done,” Hudson points out. “There’s always something new – moments of pop culture can be added in with improv elements of the show. It’s always under construction as we look for ways to make it fun and present.”

They’re equally adept at Shakespearean soliloquies and contemporary humor. One needn’t be a scholar of classic literature to enjoy the evening, though there are some amusing Easter eggs buried in the dialogue that will tickle the brains of bookworms and theater devotees.

“People may not remember what they read in high school English, but we really lean into this idea of taking stories you may or may not know and finding ways to build them out for a modern audience,” Hudson says. “We want to see people laugh and have fun, enjoy being together in the theater and really connect with the story, each other and the performers. 

“We say the number-one job for our actors is to become best friends with everyone in the room. If they want to get a beer with you afterward, you’ve done your job.”

That infectious sense of fun is truly at the heart of “Drunk Pirates” and “Drunk Shakespeare.” Here in Phoenix, it’s a part of what’s made Arizona Center a destination again, bringing joy and connection to a fanbase that seemingly can’t get enough of laughing until their cheeks are sore and their sides hurt.

“Drunk Pirates“: Wednesday through Sunday nights through Sept. 19. The Rose Theatre 455 N. Third St., #1010. Admission is strictly 21+ only. See showtimes and tickets at drunkpirates.com.