Get ready to set sail on a wave of laughter and satire, because English National Opera’s HMS Pinafore is here to rock the boat—and not everyone will stay afloat! When this Gilbert and Sullivan classic premiered in 1878, it took a sharp jab at the First Lord of the Admiralty, WH Smith, a politician who climbed the ladder of power without ever setting foot on a ship. Sound familiar? Fast forward to today, and ENO’s 2021 staging by Cal McCrystal doesn’t just revisit history—it flips it on its head with a wild, laugh-out-loud twist. But here’s where it gets controversial: while the original skewered political incompetence, this version takes aim at modern targets, blending Victorian wit with a healthy dose of 1970s British humor. Is it too much, or just the right amount of chaos? You decide.
Rooted in the slyly rebellious spirit of Victorian music halls—where, as Gilbert’s libretto reminds us, love truly ‘levels all ranks’—this production also winks at the cheeky charm of Carry On films. With additional material by McCrystal and Toby Davies, it’s a love letter to British comedy’s golden age. And this is the part most people miss: a clever prologue introduces a ‘reciprocal arts swap,’ where Bake Off’s Mel Giedroyc steps in for an ENO chorus member, juggling two roles with barely any rehearsal. The result? Pure, hilarious chaos that feels like a modern-day Morecambe and Wise sketch.
The stage itself is a marvel, with a revolving ship and vibrant costumes by Takis, bathed in Tim Mitchell’s slick lighting. It’s like stepping into a D’Oyly Carte time capsule—but with a twist. McCrystal’s relentless physical comedy and a cast that’s game for anything keep it fresh. From double entendres about poop decks to a sailor channeling Charles Hawtrey while referencing Three Men in a Boat, the jokes come fast and furious. Not every punchline lands, but the ones that do? They’re knockout.
The cast is stellar. Neal Davies’ Sir Joseph is a delightfully sleazy charmer, struggling with his r’s (cue the rank jokes). John Savournin’s Captain Corcoran and Rhonda Browne’s Buttercup share a charming chemistry, while Henna Mun’s Josephine and Thomas Atkins’ Ralph deliver a sparkling romantic dynamic. And Trevor Eliot Bowes? His Dick Deadeye is a hammy masterpiece, complete with an avalanche of cheeky puns. Meanwhile, Mel Giedroyc steals the show with her anarchic energy, proving she’s just as at home on the opera stage as in a baking tent.
Matthew Kofi Waldren’s spirited conducting and the ENO chorus’s flawless performance—despite Lizzi Gee’s demanding choreography—tie it all together. When the company launches into the barnstorming hornpipe, it’s pure, glorious madness. But here’s the question: does this Pinafore sail smoothly, or does it capsize under its own ambition? Let us know in the comments—this is one debate that’s sure to make waves.
