Michael Greenebaum, VLO co-founder

When, in 1975, a group of middle-aged folks decided to stage a Gilbert & Sullivan opera, the choice was easy – it had to be H.M.S. Pinafore. It was one of the shorter shows, and it had only one set. Most importantly, it was widely popular. Our parents and grandparents had grown up singing its tunes and laughing at its jokes. When the English D’Oyly Carte Company, the custodian of the G&S tradition, made its annual U.S. tour, it was centered on the “Big 3” – Pinafore, The Pirates of Penzance, and The Mikado – so we could confidently anticipate a knowledgeable audience eager to be entertained by its sparkling wit, gorgeous music, and spectacular costumes.

In 2025, as Valley Light Opera again – for the fifth time – presents Pinafore, our audiences in the Academy of Music may not have grown up as much with this tradition, and the company is eager to introduce new audiences to the singular combination of silliness and beauty that is Gilbert & Sullivan, especially when sung by the beautiful voices and played by the splendid full orchestra that are the hallmarks of VLO productions.

Pinafore is always enjoyed as a satire on the rigid British class system and the dimness of the aristocracy that accompanies it. The show also contains a mystery, and that adds to the fun. No spoilers here; you will have to attend one of the four performances to find out exactly what I am talking about. Suffice it to say that the main story of the opera concerns Josephine, the captain’s daughter who is both loved by Ralph Rackstraw, a common sailor, and wooed by Sir Joseph Porter KCB, the First Lord of the Admiralty.

The complexities of this love triangle give Gilbert great scope for his love of “topsy- turvy” plot twists – the basis of so many of the G&S operettas. Alongside this story are clues to another story that runs throughout the opera and turns “topsy-turvy” upside-down. For example, at the beginning of Act I, Little Buttercup, who comes on board to sell goods to the sailors for their long journey, shouts “Remorse, remorse!” when she hears Ralph’s name, while at the start of Act II she sings to Captain Corcoran that “things are seldom what they seem.”

Other clues are scattered throughout the opera. What does it mean? And what difference does it make? You decide. I used to think that Gilbert invented the “reveal” at the end because it was getting late, and he wanted people to get to the pubs before closing time. But it is impressive how Gilbert anticipates this ending right from beginning of the show, and how Sullivan hints at it in the orchestra even before the first curtain rises. Think about it. Or maybe better not to think about it. Think instead of your grandparents singing the familiar songs, and bring your own kids to the performance to keep the tradition going!