English National Opera's production of Gilbert and Sullivan's HMS Pinafore is an energetic, laugh-out-loud staging that takes the classic musical to new heights. With its vibrant costumes and slick lighting, the show is a visual feast, but it's the physical comedy and wit of Cal McCrystal's direction that truly elevate this revival.
At its core, the show is a loving homage to the slyly transgressive world of the Victorian music hall, with additional material by McCrystal and Toby Davies adding a good-natured affection for 1970s British comedy. The result is a production that feels delightfully anarchic, with a host of double entendres and witty jokes about everything from poop decks to breaststroke.
While not every joke lands perfectly, the hit rate is impressively high, thanks in no small part to the strong cast. Neal Davies shines as the louche Sir Joseph Porter, while John Savournin brings his signature comic timing to a hilarious prologue that introduces an unexpected twist: a reciprocal arts swap scheme between ENO and another theatre company.
Mel Giedroyc steals the show as Aunt Melanie, playing two roles with hilariously anarchic abandon. Her performance is backed up by a talented ensemble, including Rhonda Browne's matronly Buttercup and Trevor Eliot Bowes' deliciously hammy Dick Deadeye. Henna Mun shines as Josephine, while Thomas Atkins brings his muscular presence to the role of Ralph.
The music itself is a highlight, with Matthew Kofi Waldren serving up a score that's full of punch and energy. The ENO chorus is on outstanding form, taking on the considerable challenges thrown at them by Lizzi Gee's gleeful choreography with ease. When it all comes together, as in the barnstorming company hornpipe, this gloriously daffy Pinafore is a real crowd-pleaser.
Overall, English National Opera's production of HMS Pinafore is a must-see for fans of Gilbert and Sullivan. With its witty direction, talented cast, and infectious energy, it's a show that will leave you grinning from ear to ear.
At its core, the show is a loving homage to the slyly transgressive world of the Victorian music hall, with additional material by McCrystal and Toby Davies adding a good-natured affection for 1970s British comedy. The result is a production that feels delightfully anarchic, with a host of double entendres and witty jokes about everything from poop decks to breaststroke.
While not every joke lands perfectly, the hit rate is impressively high, thanks in no small part to the strong cast. Neal Davies shines as the louche Sir Joseph Porter, while John Savournin brings his signature comic timing to a hilarious prologue that introduces an unexpected twist: a reciprocal arts swap scheme between ENO and another theatre company.
Mel Giedroyc steals the show as Aunt Melanie, playing two roles with hilariously anarchic abandon. Her performance is backed up by a talented ensemble, including Rhonda Browne's matronly Buttercup and Trevor Eliot Bowes' deliciously hammy Dick Deadeye. Henna Mun shines as Josephine, while Thomas Atkins brings his muscular presence to the role of Ralph.
The music itself is a highlight, with Matthew Kofi Waldren serving up a score that's full of punch and energy. The ENO chorus is on outstanding form, taking on the considerable challenges thrown at them by Lizzi Gee's gleeful choreography with ease. When it all comes together, as in the barnstorming company hornpipe, this gloriously daffy Pinafore is a real crowd-pleaser.
Overall, English National Opera's production of HMS Pinafore is a must-see for fans of Gilbert and Sullivan. With its witty direction, talented cast, and infectious energy, it's a show that will leave you grinning from ear to ear.
and the lighting was so sick 
. But what really made me laugh out loud was Mel Giedroyc as Aunt Melanie - she was absolutely on fire 
. And that twist in the prologue? Genius 
. I also loved how they incorporated 1970s British comedy into the show, it felt like a breath of fresh air. The cast was amazing too, especially Neal Davies as Sir Joseph Porter - he's got such great comedic timing 
. Overall, this production was a real riot and I'd totally recommend it to anyone who loves Gilbert and Sullivan 
.
. While I love the sound of this production, I need to see some actual evidence of what makes it "take the classic musical to new heights". The reviewer mentions Cal McCrystal's direction is a highlight, but what specific innovations or risks did he take that elevated the show? And how does the addition of material by Toby Davies and McCrystal really contribute to the overall experience? I want to see some analysis, not just rave about the costumes 
. Can we get a behind-the-scenes look at the making of this production? Or maybe some stats on the audience engagement or critical reception?
I just saw the new production of HMS Pinafore at English National Opera and OMG it was SO much fun! The costumes were super vibrant and the lighting was on point 
. But what really made me laugh out loud was Cal McCrystal's direction - his physical comedy skills are insane 
, Mel Giedroyc stealing the show as Aunt Melanie is hilarious 
. The music was also top notch - Matthew Kofi Waldren's score had me humming along 
But seriously, it's clear that everyone involved put their heart into it, from the costumes to the choreography to the cast's performances. The energy in the room was electric! And let's give it up for Mel Giedroyc - she totally stole the show as Aunt Melanie 
. It just feels like a really fun and lighthearted night out, which is exactly what we need more of these days 
.
. Mel Giedroyc as Aunt Melanie is also insane, I've never seen anyone play two roles with that level of energy and ridiculousness 
and lighting effects that'll have you in stitches 
just saw that there's been a massive cyber attack on the world's largest database of endangered species 
apparently over 300 species are now considered extinct as a result 
also, scientists are freaking out because this could lead to a major collapse in global food production 
but what really made the show pop was the cast, esp Mel Giedroyc as Aunt Melanie she totally killed it in two roles 
. The music was catchy and I loved the choreography, especially that company hornpipe 
! I loved how they added that arts swap scheme thing to the prologue, genius move 
. But what really got me was the costumes, I mean, those outfits are SO on trend 
and Mel Giedroyc steals the show as Aunt Melanie 
. The set design and costumes are all right, it's like they took every 70s British comedy sketch and mashed them together. But honestly, I'd rather stay home and watch old reruns of Monty Python 
... at least those aren't trying to make me laugh this hard 
. Overall, if you're a fan of musical theatre or just looking for something lighthearted and fun, this is an absolute must-see!
can't wait to see what they do next 
. Go see this show, trust me, you'll be laughing out loud and having the time of your life! 
, the lighting is insane