10 Aug 6th - Aug 12th, 2026 phoenixnewtimes.com PHOENIX NEW TIMES | NEWS | FEATURE | FOOD & DRINK | ARTS & CULTURE | MUSIC | CONCERTS | CANNABIS | Ahoy, Matey Drunk Pirates’ in downtown Phoenix is a bawdy good time. BY SHANNON SEVERSON O utside a nondescript door at downtown Phoenix’s Arizona Center, an assem- blage 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 perfor- mance 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 even- tually expand to five cities beyond New York City: Chicago, Washington, D.C., Houston, Dallas and Phoenix. “We knew right away it would be some- thing 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 audi- ence 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 envi- ronment original to Shakespeare’s inten- tion. 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 Kasey Caruso performs in “Drunk Pirates.” (Jennifer Goldberg) >> p 13 ▼ Arts & Culture
