Bronhill as Ruth, David Atkins as the Sergeant of Police and Marina Prior as Mabel. The six-week limited season was followed by an Australian national tour from 1984 to 1986 and another tour with same cast in the mid-1990s. In 1985, Papp's Pirates opened the new Queensland Performing Arts Centre in Brisbane, setting attendance records that were not surpassed until many years later by The Phantom of the Opera. Gallaher's Essgee Entertainment version of Pirates was inspired by the Papp version. The Papp version also inspired foreign-language productions in Germany and elsewhere in Europe. The Papp production was turned into a film in 1983, with the original Broadway principal cast reprising their roles, except that Angela Lansbury replaced Estelle Parsons as Ruth. The minor roles used British actors miming to their Broadway counterparts. The film has been shown occasionally on television. Another film based loosely on the opera and inspired by the success of the Papp version, The Pirate Movie, was released during the Broadway run. The Papp production design has been widely imitated in later productions of Pirates, even where traditional orchestration and the standard score are used. Some modern productions are also influenced by the Disney film franchise Pirates of the Caribbean, combining aspects of the Papp production with the Disney design concepts. Not all of these revivals have generated the same enthusiasm as Papp's 1980s productions. A 1999 UK touring production received this critique: "No doubt when Papp first staged this show in New York and London it had some quality of cheek or chutzpah or pizzazz or irony or something that accounted for its success. But all that's left now ... is a crass Broadway-style musical arrangement ground out by a seven-piece band, and the worst kind of smutty send-up of a historic piece of art." Recordings The Pirates of Penzance has been recorded many times, and the critical consensus is that it has fared well on record. The first complete recording of the score was in 1921, under the direction of Rupert D'Oyly Carte, but with established recording singers rather than D'Oyly Carte Opera Company performers. In 1929, The Gramophone said of a new set with a mainly D'Oyly Carte cast, "This new recording represents the high-water mark so far as Gilbert and Sullivan opera is concerned. In each of the previous Savoy albums there have been occasional lapses which prevented one from awarding them