Stepping into the London Coliseum to see English National Opera’s revival of HMS Pinafore is rather like discovering a long-forgotten postcard from a witty Victorian cousin: puckish, pulsating with charm, and radiating a genial warmth. Returning to the Coliseum for the first time since its 2021 premiere, this much-loved production once again proves why Gilbert and Sullivan’s nautical comedy continues to delight audiences nearly a century and a half after it first set sail.

Under the assured direction of Cal McCrystal — whose flair for physical comedy has earned him widespread acclaim — HMS Pinafore is handled with a lightness of touch and a keen sense of theatrical joy. McCrystal’s staging, previously nominated for an Olivier Award for its outstanding set and costume design, revels in the operetta’s irreverence while never losing sight of its affectionate satire of British class and hierarchy.

The visual world, created by designer takis, is a constant source of pleasure. The eponymous Royal Navy warship dominates the stage in a riot of colour and clever detail, its playful proportions and revolving movement lending the production a sense of perpetual motion. Billowing crinolines, crisp naval uniforms and bold, candy-hued accents create a heightened, almost storybook aesthetic — elegant yet knowingly tongue-in-cheek — that perfectly matches the opera’s mischievous spirit.

Musically, the evening sparkles. Conducted with verve by Matthew Kofi Waldren, Sullivan’s score dances along with infectious energy. The orchestra brings buoyancy and clarity to the familiar melodies, while the chorus — so often the backbone of Gilbert and Sullivan — sings with precision and evident relish, filling the Coliseum with sound that feels both grand and inviting.

The cast delivers with warmth and charisma throughout. Neal Davies makes an irresistibly pompous Sir Joseph Porter, his bass-baritone lending weight and comic authority to the role, while John Savournin’s Captain Corcoran balances dignity with gentle humour. Thomas Atkins brings sincerity and lyrical ease to Ralph Rackstraw, and Josephine is beautifully realised by Eleanor Sanderson-Nash, whose bright, expressive soprano captures both youthful longing and quiet resolve during the performance I attended (Henna Mun offers an equally engaging interpretation in alternate performances). Rhonda Browne’s Buttercup is richly voiced and wonderfully characterful, anchoring the action with knowing wit, while Trevor Eliot Bowes’ Dick Deadeye and Marcus Farnsworth’s Boatswain add depth and contrast. Guest star Mel Giedroyc slips effortlessly into the world of the piece, her comic instincts complementing the operatic and tap-dancing performances around her with ease.

What emerges most strongly is a sense of sheer enjoyment — from performers clearly relishing every beat of the score, to an audience swept along by the production’s generosity of spirit. Gilbert and Sullivan’s rolling humour and sharp social observation remain intact, yet feel freshly alive, a reminder of why HMS Pinafore became the duo’s first major international success following its London premiere in 1878.

ENO’s revival arrives as both celebration and invitation. With accessible ticket pricing and a welcoming atmosphere that encourages newcomers as warmly as seasoned opera-goers, this Pinafore embodies the company’s commitment to making opera joyful, inclusive and deeply pleasurable. Brimming with colour, wit and musical finesse, it is a production that delights in its own craftsmanship — and invites the audience to do the same.