“Let’s leave subtlety at the door, shall we say…” Just days before coming to the Coliseum, I happened to tune into BBC Radio 3 one evening to hear Mel Giedroyc talking about her role – three roles, no less – in the revival of HMS Pinafore now on at the ENO.
Giedroyc? In opera, you cry? Quite. But fear not, she’s not here to unleash a hidden coloratura. Her presence is instead a sort of theatrical sleight of hand – a device by which director Cal McCrystal may cheerfully flex his comedic muscles. Perhaps best known for his work on the National Theatre’s production of One Man, Two Guvnors, McCrystal cut his operatic teeth in 2018 with the ENO’s Iolanthe to universal acclaim for its creative staging. To wit, if Iolanthe was, ahem, a shot across the bows, then Pinafore allows McCrystal to serve a broadside.
Bethan Langford, Mel Giedroyc and Deborah Davison in ENO’s HMS Pinafore
Gilbert and Sullivan’s tale is, on paper, a frothy nautical romance: captain’s daughter loves lowly sailor; First Lord of the Admiralty expects her hand; identities are swapped and honour restored with typical G&S legerdemain. But beneath the bunting, Pinafore is a pointed little lance aimed squarely at the flabby underbelly of Victorian class rigidity, political pomposity and nationalistic bluster. Far from feeling an antique curio, its barbs land as neatly today as they did in 1878 – albeit with the occasional groan against a chauvinistic slur – and McCrystal’s contemporary touches feel less like updates than natural extensions of the work’s original bite.
Gilbert and Sullivan always affords a degree of mischief, and McCrystal really pushes the boat out (sorry). From the moment John Savornin takes to the stage in a prologue, introducing Giedroyc as part of a new Arts Reciprocation Scheme of England – there’s a guffaw when the audience clocks the acronym – you know exactly what you’re in for. There’s physical comedy in abundance, not to mention a healthy dose of slapstick – the rigging comes in very handy for some memorable entrances – and, of course, innuendo.
John Savournin, Nea Davies and Henna Mun in ENO’s HMS Pinafore
It has, overall, a flavour of grown-up panto, but amid all the ribaldry it does not forsake the execution. This is quality stuff. The rotating poop deck (crikey, now I’m at it) set is a work of art – never more showing its value than during “Never Mind the Why and Wherefore” (prompting an encore, complete with Fawlty Towers-esque changes to the ship’s name on the stern – Fish Opera, anyone?). The wardrobe, all crinoline and epaulettes, is worthy of an Oscar and, lest we forget this is the ENO, the performances are sheer class. Amid standout turns by the leads, the harmonies produced by the chorus are, simply, sublime. Even if you’re not familiar with the show, let alone Gilbert & Sullivan, this is the one with many a smile-inducing, foot-tapping number you’ll know.
As Mel G reassured me on the radio, “It’s a riotous, life-affirming show. I think people will leave feeling like they’ve had a mini holiday.” And she was absolutely right. Much like Jonathan Miller’s Mikado, this production will go down as one of the greats. Do not, under any circumstances, miss it.
HMS Pinafore runs for selected performances at The Coliseum until 7th February 2026. For more information, including performance dates, and for bookings, please visit www.eno.org.
Photos by Craig Fuller
