The Cast of ENO’s HMS Pinafore, 2025 (c) Craig Fuller
Gilbert & Sullivan: HMS Pinafore
ENO / Matthew Kofi Waldren
The Coliseum, London, December 4, 2025
With the run-up to Christmas in full swing, English National Opera’s revival of Cal McCrystal’s Olivier Award-nominated production of HMS Pinafore would be well timed, were it not for the fact that 10 of its 12 performances are not scheduled until late January. This is a shame, since with its uproarious, at times anarchic treatment of what is, let’s face it, a frivolous confection, it is perfect panto season fare.
True, there are no overt “Oh yes it is/Oh no it isn’t” moments, but in this well-thought-through production Pinafore exists – almost – as a play-within-a-panto, where the actors portraying WS Gilbert’s comic creations have their own interactions with their audience. This starts with the spoken prologue, delivered front-of-curtain by ENO’s go-to G&S specialist, John Savournin (suavely debonair as ever as Captain Corcoran) and the special guest star, Mel Giedroyc (cue Bake-Off gags and references throughout), replacing 2021’s Les Dennis. Dennis had previously taken the not insignificant role of Sir Joseph Porter – butt of much of Gilbert’s satire – but this time it was the splendid bass-baritone Neal Davies who takes the role and hams it up superbly.
I can imagine, however, that this version of Sir Joseph, with his inability to sound the letter ‘r’ (cue many a Carry On joke about rank), would disappoint the G&S purists rather more than Dennis’s uneven singing four years ago. The antics of Giedroyc (think Eurovision milkmaid, not Mary Berry’s co-presenter) in the double role of Cabin Boy and Aunt Melanie (replacing 2021’s Auntie Minje) will not have endeared them further. And while her physical comedy adds little to the plot, it both entertains and distracts somewhat from the rather politically incorrect features of the original.
John Savournin, Neal Davies, Henna Mun, ENO’s HMS Pinafore 2025 © Craig Fuller
The background zip-wired BoJo is still here – albeit not dumped in the harbour – and the Union Jack-waving that accompanies “He is an Englishman” is offset nicely by the cast’s plethora of national flags, reflecting their joyously divergent ethnic backgrounds. It’s a moment unlikely to appeal to Reform UK adherents.
Additions to the core work – including the group hornpipe and tap-dancing (see also ENO’s recent Partenope) – are much less intrusive than, say, those in The Muppet Christmas Carol. Fun they may be, but any production depends on the central performances, and here the ENO Chorus are the stars of the show.
Henna Mun, yet another gifted ENO Harewood Artist, is terrific as Corcoran’s daughter Josephine, revealing a beautiful light soprano and a flair for comic timing. Tenor Thomas Atkins is a touch restrained as her suitor Ralph Rackstraw, although there is no doubting his musicianship. On first night he was upstaged frequently, though, by bass Trevor Eliot Bowes as Dick Deadeye and baritone Marcus Farnsworth as the Boatswain. Visually, the production is spectacular, thanks to the excellent costumes and set design by takis, abetted by Lizzi Gee’s vibrantly busy choreography. With a smallish-sounding band accompanying crisply directed by Matthew Kofi Waldren, this makes for a fine, fun, if frothy, night out. Purists need not attend!
HMS Pinafore plays for 10 further performances at The Coliseum, resuming on January 23 until February 7, 2026.