English National Opera is revisiting one of its recent best-sellers with this new staging of Cal McCrystal’s 2021 production of HMS Pinafore at the London Coliseum.
First produced in London in 1878, the operetta HMS Pinafore or The Lass that Loved a Sailor, really launched Gilbert and Sullivan on to the world stage with 571 performances in its first run.
Its themes of true love and social class still resonate today but much of its piercing satire is down-played here in favour of a panto-style presentation complete with tap dancing and some excellent physical comedy.
This is ‘opera buffa’ with a modern make-over that will please some and irritate others.
HMS Pinafore: undeniably appealing
The show opens with television personality Mel Giedroyc on stage as a cabin boy and host alongside the charming and very funny John Savournin. Described by the ENO as ‘a national treasure’, Giedroyc is undeniably appealing, especially when she’s hamming it up as one of the many aunts, but there are moments when her larger-than-life persona does rather distract from the business at hand.
And whilst she may have been adored by fans of the Great British Bake Off, that was ten years ago, so some of the references may be a bit remote for today’s audience.
John Savournin really shines as Captain Corcoran, making the character both comic and warmly believable. He really is very watchable. South Korean soprano and ENO Harewood Artist, Henna Mun, absolutely sparkles as Josephine. It’s a shame that her crystal clear voice does at times get a little lost on the vast Coliseum stage.
Alongside her, New Zealand tenor Thomas Atkins is very engaging as Ralph Rackstraw, ‘the audacious tar’, and together they make a well-suited young couple. Contralto, and fellow New Zealander, Rhonda Browne has wonderful stage presence as Buttercup, ‘a plump and pleasing person’ but also feels a little vocally under-powered.
Bass-baritone Alaric Green, in the role of carpenter Bob Becket, is another accomplished Harewood Artist. Neal Davies steals many scenes as the Rt Hon Sir Joseph Porter, First Lord of the Admiralty, replete with his orange wig and whiskers. Canadian bass Trevor Eliot Bowes is perfectly comical as the cynical shipmate Dick Deadeye.
HMS Pinafore: the ENO orchestra
The ENO orchestra and chorus are superb, sprightly and vivid at all the right moments. Conductor Matthew Kofi Waldren emphasises the colour in the score and the orchestra is both polished and playful. The musical pacing felt a little hesitant in a couple of spots on opening night, especially in Act 1, but the orchestra throughout was eloquent and perky.
The production certainly looks stunning, with a beautiful colour palette, highlighted by divine dresses for the ‘sisters and the cousins and the aunts’, and picture-book sailor suits for the boys. The deck of the revolving ship is a great example of pitch-perfect set design and fills up the vast stage, one of the largest in London.
All praise to Olivier Award-nominee takis for the seamless set and costume design. Applause also go to choreographer Lizzie Gee for the splendid movement and synchronised silliness and director McCrystal for the mad moments of over-the-top theatricality.
HMS Pinafore: divisive
This HMS Pinafore will divide audiences with all of the added comedic elements. Some will find these hilarious and life-affirming; others will think they’re intrusive and unnecessary. Whilst it’s not unusual to update a piece that’s 150 years old, how much should you add or change?
My young guest, attending his first opera, absolutely loved this show. Does this serve its purpose, making HMS Pinafore an accessible entry point to opera for new audiences? Or do you agree with the more traditional opera-goer who muttered to me at interval drinks, ‘it’s been too mucked about with’!
I’m sure ENO know that this HMS Pinafore won’t please the G&S purists but it undoubtedly ticks all the boxes as a visually delightful festive confection. It’s a heart-warming production at the majestic Coliseum that will send you smiling into the cold winter’s night.
