As the orchestra kicked off the overture to Gilbert and Sullivan’s cheerful operetta, I racked my brains to where and when I had heard this music last, I felt like I knew every melody already. It occurred to me later that I must have performed in a production of HMS during my childhood singing days, though even those who aren’t acquainted with the music will quickly feel familiar – it is an upbeat and repetitive score that you cannot help but tap your foot along to.
The dictionary defines an operetta as ‘a short opera, usually on a light or humorous theme and typically having spoken dialogue’. In contrast to the heavier, classic tragic operas these compositions will usually attract a more varied audience, despite the old-fashioned nature of the humour. For this ENO revival, directed by Cal McCrystal, there is an extra element of fun with the addition of well-known TV presenter and comedian, Mel Giedroyc, who adds modern quips and slapstick silliness to the show.
We join Captain Corcoran and his daughter Josephine as they journey the seas on board the HMS Pinafore, navigating the ultimate conundrum of duty vs love. I felt particularly safe with the vocal abilities of Eleanor Sanderson-Nash as Josephine and Marcus Farnsworth as the Boatswain, but was less enamoured with Rhonda Browne’s boisterous Buttercup and Bethan Langford’s rendition of Hebe, which was just not loud enough. The comedic timing and movement throughout was brilliant and full of energy, and choreographer Lizzi Gee should feel very proud of the cast – it is not always the case that an operatic ensemble can dance a complicated routine in time and with confidence! Frivolous colour and nautical jolliness is added by takis’ costumes and set design.
As is always the case, the orchestra play with masterful precision, led by conductor Matthew Kofi Waldren in the pit. It was a joy to witness this production of HMS Pinafore alongside my grandmother, who like me, trained to be a singer. And at a time when theatre (and opera in particular) feels so precarious it was heart-warming to see the London Coliseum full to the rafters with audience members young and old.
Continues at The Coliseum until 7th February, book here.
(I received press tickets to this production)
