Guest Blog: 'It’s A Role Unlike Any Other In The G&S Canon': Bass-Baritone John Savournin on Returning to HMS PINAFORE at the London Coliseum

I find myself once again poised to set sail aboard the peerless HMS Pinafore, with our production of Gilbert & Sullivan’s nautical-themed masterpiece opening at the London Coliseum tonight!

I’ve sung Captain Corcoran a few times before, including in the 2021 premiere of this witty Cal McCrystal staging for ENO, and it’s a pleasure to be returning to this brilliant production, this time guest-starring the wonderful actor, comedian and writer Mel Giedroyc.

Mel’s been an absolute hoot to work with, and I’ve learnt so much from her extraordinary craft. She brings her trademark warmth, wit and satirical humour to her non-singing roles of the Cabin Boy / Aunt, and the speed at which her mind works when ad-libbing in the moment is something to behold. And what’s more – she is such a lovely person to boot. It’s also a real pleasure to be working with such experienced hands as Neal Davies as Sir Joseph Porter, Henna Mun as my daughter Josephine and Thomas Atkins as Ralph Rackstraw.

I’m very fond of Captain Corcoran; it’s a lovely role to sing, and the character is very likeable. He's a comic figure, gently mocked for his professionalism and class-consciousness. But ultimately, he’s a sympathetic character, torn between duty, social expectation and his love for his daughter, so you can’t help but warm to him. It’s a role unlike any other in the G&S canon, with wonderful lyrical passages to sing, as well as plenty of patter to get your teeth around, as is often the case in this repertoire.

I grew up on Gilbert & Sullivan. Watching and performing in lots of their operettas as a child is how I began to form an understanding of theatre – especially comedy. My introduction was singing in a youth production of Trial by Jury at the G&S Festival at the Buxton Opera House when I was 11 years old. I caught the ‘theatre bug’, as they say, and though I now also sing lots of roles in opera, from early or modern music, the G&S operettas hold a special place for me. The nostalgia is strong!

And make no mistake, they take no prisoners – you are often very exposed musically (take Corcoran’s Act Two aria, "Fair Moon", for example, where the orchestra are an incredibly light support underneath a very lyrical melody). You have to be very adept with spoken dialogue, never mind the fact that it is comedy which is even harder to pull off, and you need to have control over your feet in dance routines. It’s a fantastic training for any performer, and I love returning to this repertoire. How lucky am I to be afforded the opportunity.

I love working on comedy. It is so rewarding – if you approach it well. Gilbert was a master at writing situational comedies (sit-coms, as we call them today), where it’s the situation that the characters find themselves in that drives the humour. Being open, honest and generous, makes comedy a joy to be part of.

I’m also in the fairly unusual position in opera of working both as a singer and a director. I feel very fortunate to be afforded the opportunity to wear multiple hats. My experience across each discipline informs the other; I’m able to draw on my experience as a performer when directing (because I know what it’s like), and I learn so much from other directors, like Cal, when rehearsing as a singer. I love being able to use different parts of my brain, and I wouldn’t have it any other way.

What’s it like singing at the London Coliseum? To sing there is a real privilege for any singer – especially with our national opera company. You really have to keep calm and trust your technique in that enormous theatre, but I’ve loved singing both the Pirate King in Mike Leigh’s The Pirates of Penzance and the Lord Chancellor in Cal McCrystal’s beautiful production of Iolanthe for ENO, and it’s great to be working with them once again. They are a unique, brilliant company, made up of the very best of people creating extraordinary work. Long may ENO continue.

If there’s one thing I’d like to say to someone who’s never been to an opera before, it’s that opera is for everyone. It’s a cliche, but as an art form, it really is one of the most rounded versions of theatre you can experience. If you haven’t tried it yet – do it!