2003. In recent decades, the Carl Rosa Opera Company has produced Pinafore several times, including in 2009, Opera della Luna has toured it repeatedly, English National Opera presented it in 2021, it is regularly given by the National Gilbert & Sullivan Opera Company, and other British companies continue to mount the piece. The extraordinary initial success of Pinafore in America was seen first-hand by J. C. Williamson. He soon made arrangements with D'Oyly Carte to present the opera's first authorised production in Australia, opening on 15 November 1879 at the Theatre Royal, Sydney. Thereafter, his opera company played frequent seasons of the work (and the subsequent Savoy operas) until at least 1963. In the U.S., the piece never lost popularity. The Internet Broadway Database links to a non-exhaustive list of 29 productions on Broadway alone. Among the professional repertory companies continuing to present Pinafore regularly in the U.S. are Opera a la Carte, based in California, Ohio Light Opera and the New York Gilbert and Sullivan Players, which tours the opera annually and often includes it in its New York seasons. Pinafore is still performed around the world by opera companies such as the Royal Theatre, Copenhagen; Australian Opera (and Essgee Entertainment and others in Australia); in Kassel, Germany; and even Samarkand, Uzbekistan. The following table shows the history of the D'Oyly Carte productions (excluding tours) in Gilbert's lifetime: Reception Initial critical reception The early reviews were mostly favourable. The Era wrote: The Era also lavishly praised Emma Howson as Josephine. The Entr'acte and Limelight commented that the opera was reminiscent of Trial by Jury and Sorcerer but found it diverting and called the music "very charming. To hear so-called grand opera imitated through the medium of the most trifling lyrics, is funny". The paper praised Grossmith as Sir Joseph, noting with amusement that he was made up to look like portraits of Horatio Nelson, "and his good introductory song seems levelled at" W. H. Smith. It opined, further, that "He Is an Englishman" is "an excellent satire on the proposition that a man must necessarily be virtuous to be English". It found the piece, as a whole, well presented and predicted that it would have a long run. Similarly, The Illustrated London News concluded that the production was a success and that the plot, though slight, served as a good vehicle for Gilbert's "caustic humour and quaint satire". It