Category: Contemporary

REVIEW: ENO: Albert Herring

Published on by laurentemplepoetLeave a comment

Rating: 3.5 out of 5.

“Camp and hilarious but disappointing visuals“

The English National Opera made their Manchester debut with a wonderfully fun piece of theatre. Albert Herring is set in the English countryside of the 1940s, where lustful youth are causing a moral panic for their elder conservative neighbours. The set design and costume of the piece were very simple: naturalistic, period accurate costumes in mild colours and giant wooden boards with interchanging shop signs. This arguably gave the performers a chance to shine, and shine they did with outstanding performances in their singing, comedy, and acting. But also, this visual simplicity drew more attention to the interesting choice of having the stagehands be deliberately shown as a piece of the play, even interacting at times with the characters. This choice was honestly jarring at first, but once I got used to their involvement in the show it helped highlight the artifice of theatre and therefore furthers the overall campness of the show. A campness that I only wish was more reflected in the visuals. Given that May Day (the occasion that the play is centred around) has its pagan origin in wild merriment (drinking, partying etc) it would have been interesting to see how the chase Christian morals of certain characters in the play are in opposition to the very festival that they are parading. This is certainly in the subtext of the piece, but it could have been interesting to see irony more obviously within the play with more clear visual decorations and symbols of May Day’s festivities to parallel the plays decent into moral unravelling. This could have been achieved through props and costume: a may pole, a green man costume ect. I will say though for all my complaints about the costuming, there were a couple of highlights: Albert’s May King outfit which was as ridiculous and uncomfortable for Albert as the whole pageantry it was involved in was, therefore providing some great visual comedy; as well as the local bad boys’ cowboy-esk outfit showcasing the youthful rebellious spirit of the emerging 1950s teenager that many of the characters are so frightened by.

The first half of the show had felt quite slow and like it was dragging. My friend who attended with me is a trained Opera singer, and she told me that as a fan she can appreciate the slow pacing because she is busy admiring the beautifully skilled singing. However, to my own untrained ear, that effect was lost, and therefore elements of the first half just felt repetitive and slow. However, this picked up in the much stronger second half. At the end of the play, Herring’s liberation from moral chastity is greatly cathartic for the audience. With all this purity culture, youth, and repressed sexuality, Herrings wild side in contrast is fun, flirtatious, and daring. Resulting in a fantastic boisterous ending with a surprise moment, a small but bold edit that shouldn’t shock you in this day and age but certainly will. But I’ll let you enjoy that when you go and see the play, which despite my criticisms, I really recommend you do if you want a fun night out that will leave you in stitches!

C Camilla Greenwell

REVIEW: Jane Eyre at Arcola Theatre

Published on by leahjLeave a comment

Rating: 4 out of 5.

This contemporary operatic take on a classic story is visually rich and musically dramatic, brought to life by a talented group of young singers

Contemporary operas can seem daunting or inaccessible to many theatre-goers, but familiar stories like Jane Eyre can offer an easier entry into newer music, and this dramatic and visually rich production is a great starting point. This new production from the Arcola Theatre and Green Opera is a compelling and energised retelling of Charlotte Brontë’s dramatic Gothic tale of the fraught love story between young governess Jane Eyre and her brooding employer Edward Rochester. With a small, seven piece ensemble accompanying a cast of eight, this is an engagingly intimate production. Fans of earlier, more traditional operas may not connect immediately with John Joubert’s 20th-century composing style, but the tension inherent in the harmonies does complement the drama of the plotline, and there are some truly lovely soaring moments, particularly in duets between Jane & Mr. Rochester. While Kenneth Birkin’s libretto skips over quite a bit of the novel’s plot to focus on a few select scenes, the supertitles help ensure that the audience can catch the important details as they’re mentioned by projecting the text of the opera above the actors.

Soprano Laura Mekhail’s performance as Jane Eyre was an absolute highlight of the opera – in addition to her clear and sophisticated vocal performance, she brought an intense and earnest focus to the role which breathed new life into an iconic character. Her bright, expressive eyes draw you into Jane’s internal conflicts, and she delivers each line with intention. Baritone Hector Bloggs was compelling as Edward Rochester, and moved easily between the different facets of Rochester’s character – at times the threatening captor to his first wife, Bertha, and at times the flirt who draws Jane into their romance. Bloggs is a much younger Rochester than usual, but this does allow him to bring an earnestness to the character which is often absent in portrayals where he’s characterised as a more jaded middle-aged man. Bloggs’s voice fills the theatre powerfully during more dramatic moments, but he has a deft grasp of dynamics, and took several opportunities to shift into a much softer, more tender tone to develop Mr. Rochester’s more desolate and conflicted side.

Another standout was Steffi Fashokun as Bertha Mason, Mr. Rochester’s first wife who he keeps locked in his attic. Bertha is present but unspeaking throughout the opera, so she communicates entirely through movement. With Steffi Fashokun’s contemporary dance training and movement direction from Alex Gotch, Bertha holds the audience’s focus throughout as a compelling, tortured presence. While the ‘woman in the attic’ is often written off by both Mr. Rochester and many readers as a crazy woman – a burden Mr. Rochester is forced to bear – Steffi moves through scenes as a sort of tortured sprite, asking audiences to question how much her occasional outbursts are caused by any malice, and how much they might be caused by the tragedy of her situation and captivity. At times she seems to be pulled and pushed by invisible hands, calling to mind historical descriptions of witchcraft or possession, and yet her most frantic moments happen as she watches her husband slowly falling for another woman.

Eleanor Burke’s direction and Emeline Beroud’s set and costumes help create a rich visual world in which these tense interpersonal dynamics play out. The production design centres on the red threads of fate and destiny which at times trap and pull each character in different directions. Above the stage, in her attic, Bertha Mason works at a blood red tapestry, like a modern-day Penelope weaving in captivity. Hanging from the ceiling are several props representing key moments or themes from Jane’s life, and characters interact with these at key points in the show. Within the minimal yet intimate space of the Arcola, these props help create a tangible landscape evoking the 19th century world of the novel. The immediacy of the small cast singing so closely to the audience also allowed the singers to play with a much greater dynamic range than some traditional operas in a larger space.

The rest of the small cast delivered powerful vocal performances, with many of them taking on two or three characters to fill out the various chapters of Jane’s life. With promising young talent both onstage and behind the scenes, this production is an exciting glimpse of the next generation of opera.

REVIEW: TOSCA

Published on by ayoungishperspective1Leave a comment

Rating: 3.5 out of 5.

“Tosca was a testament to the company’s dedication to making opera both thrilling and
accessible”

Oxford Opera’s production of Tosca at the Oxford Playhouse offered an ambitious and emotionally charged interpretation of Puccini’s masterpiece. With a fresh English translation by Christopher Cowell, the company aimed to make the opera accessible to a wider audience while maintaining its dramatic intensity. Directed by Katie Blackwell, the production reimagined Tosca within a state controlled by a corrupt military regime, adding contemporary relevance to the timeless themes of love, betrayal, and oppression.

Marlena Devoe delivered a compelling performance as Tosca, balancing vulnerability with fierce determination. Her vocal agility and emotional depth made for a captivating portrayal of the opera’s tragic heroine. Sam Furness’s Cavaradossi was ardent and expressive, his soaring tenor filled with passion, particularly in his Act III aria. Philip Rhodes, as the sinister Baron Scarpia, commanded the stage with his rich, menacing baritone, making him a truly formidable antagonist. Under the direction of John Warner, the Oxford Opera Orchestra played with power and nuance, capturing the full orchestral magic of Puccini’s lush score. However, with no microphones used, some of the quieter singers (The Sacristan/Spoletta/The Jailer) struggled to project over the orchestra, making it difficult to catch every lyric. Thankfully, the subtitles provided helpful clarity.

The staging was minimalistic but highly effective. A crucifix-shaped platform on castors served as the production’s central set piece, transforming seamlessly from the grandeur of the church where Angelotti hides to the oppressive atmosphere of Scarpia’s quarters. This simple yet striking approach allowed for fluid scene changes without distracting from the opera’s gripping drama. The starkness of the set also emphasized the characters’ emotional turmoil, making Tosca’s ultimate act of defiance all the more poignant.

While the decision to present Tosca in English made the opera more immediately comprehensible, something about the translation felt slightly off at times. The natural musicality of Puccini’s Italian libretto was occasionally lost, and there were moments where I found myself longing to hear the original language with English subtitles instead.Visually, the production had a bold aesthetic, though the costumes, while evocative of the setting, sometimes appeared ill-fitted, which slightly detracted from the overall polish. However, Oxford Opera’s commitment to high-quality performances with a community-focused ethos shone through. With its mix of world-class professionals and local engagement, this Tosca was a testament to the company’s dedication to making opera both thrilling and accessible. Despite minor shortcomings, the production successfully conveyed the raw emotion and grandeur of Puccini’s timeless work, leaving a lasting impression on its audience.

REVIEW: The Magic Flute

Published on by justinemsjonesLeave a comment

Rating: 4 out of 5.

Opera North’s The Magic Flute is a joyful, visually striking, and musically assured production.

Mozart’s The Magic Flute is an opera that walks a fine line between whimsical fantasy and profound philosophical musings, and Opera North’s latest production at The Lowry, Manchester, strikes that balance with flair and imagination.

From the moment the overture struck its first chord, the audience was swept into a world of mystical trials, quirky characters, and enchanting melodies. Directed with a playful touch, this staging embraces the opera’s fantastical elements while keeping its deeper themes of enlightenment and love well within reach. Each scene unfolded with a sense of purpose, immersing the audience in the world of darkness versus light.

The set design is bold and imaginative, evoking a dreamlike landscape that feels both ancient and otherworldly. Clever use of lighting and projections added to the mystical atmosphere, while the costumes were a delightful blend of classical and contemporary, adding a quirky twist to the familiar story. The visual storytelling was enhanced by symbolic imagery, with motifs of nature and mysticism underscoring the opera’s deeper messages.

The standout performance came from the Queen of the Night (Nazan Fikret), whose virtuosic arias soared with chilling precision. Her commanding presence and vocal agility were truly spellbinding. Tamino (Trystan Llŷr Griffiths) and Pamina (Soraya Mafi), the opera’s romantic leads, brought both sincerity and warmth to their roles, navigating the emotional depth of their characters with finesse. Papageno (Emyr Wyn Jones) provided much of the evening’s humor with a charming, down-to-earth performance that had the audience smiling throughout. Having the performance in English makes this an exciting and accessible performance for people wanting to see an Opera for the first time. 

The Orchestra of Opera North delivered a crisp and dynamic rendition of Mozart’s score, underlining the emotional depths and lighthearted moments with equal sensitivity. The famous melodies were handled with grace, ensuring even the most familiar passages felt fresh and invigorating. The musical direction paid close attention to the balance between voice and orchestra, ensuring clarity and cohesion throughout.

If there’s a minor flaw, it lies in some pacing – occasional scenes dragged slightly, disrupting the flow of the narrative. Yet, this was a small dip in an otherwise enchanting journey.

Overall, Opera North’s The Magic Flute is a joyful, visually striking, and musically assured production. It is a compelling reminder of why this opera continues to captivate audiences centuries after its premiere. The Magic Flute will be visiting Theatre Royal Nottingham and Hull New Theatre this spring. 

REVIEW: Mansfield Park

Published on by mollypavord2 Comments

Rating: 3 out of 5.

A bold attempt at reimagining Austen, but much like Fanny Price herself, it struggled to fully break free from its constraints

Jane Austen and opera hardly seemed like a natural pairing, but Jonathan Dove’s adaptation of Mansfield Park electrifies the often-overlooked novel, bringing it roaring to life on stage.

The novel follows Fanny Price, a poor relation sent to live with her wealthy Bertram cousins at Mansfield Park. A quiet observer, Fanny navigates the rigid social structures of the time, resisting the charms of the rakish Henry Crawford while remaining steadfast in her love for her virtuous cousin Edmund. Often criticised for its morally rigid heroine and lack of Austen’s trademark wit, the story is reinvigorated in this operatic retelling.

The adaptation cleverly streamlines the novel into a concise two-hour runtime, trimming excess characters (only three of the Bertram children make the cut) and centring on the younger generation. Julia Merino’s poised portrayal of Fanny was a revelation, transforming the often passive character into someone genuinely compelling. Through costume choices, Fanny’s awkward, feeble beginnings give way to a confident protagonist, making her eventual transformation all the more rewarding.

Dove’s score cleverly amplifies Fanny’s outsider status, using overlapping melodies to amplify the chaos surrounding her. The contrast between her introspective musical passages and the lively, frivolous chatter of others created a poignant sense of isolation, positioning the audience as her close confidantes.

While Merino shone, the male roles lacked the same complexity, and Mary Crawford – always the more captivating figure – threatened to steal the show.

The opera format, with its inherent elegance and grandeur, perfectly amplified the period setting, allowing the story’s social intricacies to unfold with a heightened sense of drama. Dove’s adaptation skilfully captured the wit and charm of Austen’s original through not only the music but also through subtle glances, fleeting gestures, and sharp asides. Vocally, the ensemble blended beautifully, complementing each other with precision, but there was room to push further with choreography, sound, and lighting.

Visually, the production was simplistic to a fault, with a sparse set that felt underwhelming – until the final act, when a backdrop was dramatically pulled down to reveal a stunning Mansfield Park. A breathtaking moment that left me wondering: why wait until the end?

A bold attempt at reimagining Austen, but much like Fanny Price herself, it struggled to fully break free from its constraints.

REVIEW: Mary, Queen of Scots

Published on by fbalchin1 Comment

Rating: 3 out of 5.

“An accomplished cast and lush score, this rarely presented opera is let down by inexplicably dull visuals”

What if Mary, Queen of Scots got lost at TRNSMT Festival with some local farmers?

I find myself asking this question during Act II of Mary, Queen of Scots at the London Coliseum. Originally created in 1977 by Scottish composer Thea Musgrave who at a spritely 96, is still alive and was actually in the audience. It is premiering in London for the first time this year with ENO in conjunction with San Francisco Opera. Set during Mary’s time in Scotland, it sandwiches itself between her formative French years and her English exile. We follow her through her isolation, passion and betrayal by the manipulative men around her.

The cast is clearly talented, led by soprano Heidi Stober as Mary. This being Stober’s debut with ENO, she is astonishing. Small in stature, she fills the vastness of the dreary set with an exquisite vocal range and expressive tonality; hers being the sole solo female voice in the show- perhaps representative of her isolation in the Scottish royal court.  

Musgrave’s score is stunning and still contemporary despite being nearly fifty years old. I enjoyed the way the libretto, based on Amalia Elguero’s play Moray, explored the frankly Shakespearean drama of Mary’s world. The tragic events of her life were played out effectively by the cast. Act III really felt like a different show, however, with everything stepping up a gear in terms of action, drama, lighting choices by the time the crescendo arrived. It was too little, too late though as the damage of the previous aesthetic blandness had been done. 

The set. Ah, the set. I first noticed something was off when it looked like someone had left a massive, cheap looking marquee frame in the middle of London’s biggest, blankest stage. Over the course of Acts I and II, crew distractingly set it up with a grubby white roof, side panels and pink ratchet seals. It looked like it had blown in from someone’s garden. Taking up the majority of the stage, it did nothing but probably block the view of those in the cheap seats and after spending 1.5 hours putting it up, it had been completely dismantled for Act III again. All that remained was some harsh strip lighting and a block for a bed. Costumes too, were bizarre. The ensemble were dressed like extras in Clarkson’s Farm, and the nobility were dressed for a wedding in which each invitation had a different dress code. The whole vibe gave a sense of a dynastic struggle in a North London allotment. 

It was difficult to form any connection with the characters. Not least because of the literal physical barrier causing the set to look fenced off end to end downstage. Possibly a nod to Mary being trapped in, but equally plausible in that we, the commoners, are shut out. If you had spent the entire evening reading the surtitles you would not have missed anything visually. I’m surprised they didn’t fully lean into the currently popular sparse Jamie Lloyd style and get some live screens in there. I wanted more Scottish references in what is an essentially Scottish Opera based on an iconic Scot.  It was a perfectly missed opportunity to incorporate frankly anything culturally Scottish including instruments, clothing and imagery. 

This is a great story let down by Director-designer Stewart Laing’s creative choices and it left me as cold as the wintry lands it is meant to portray. 

REVIEW: Figaro: An Original Musical

Published on by Antonia ConstantinLeave a comment

Rating: 3 out of 5.

A star-studded show that hits some, misses others.

When you hear the name Figaro, your mind might wander to the operatic mischief of The Barber of Seville or The Marriage of Figaro. But Figaro: A Musical, with music by Ashley Jana and a book by Will Nunziata, tries to carve out its own space in the musical theatre world—and while it has moments of brilliance, it also left me perplexed more than once. T

The story trails Sienna (Cayleigh Capaldi), a restless dreamer eager to escape her small-town existence in a provincial Italy. Her life takes a dramatic turn after an unexpected meeting with two orphans, Amelia and Gianni, which leads her into the orbit of the mysterious and magnetic showman, Figaro (Jon Robyns). Figaro promises her a shot at stardom, but his guidance soon reveals itself to be a tangled web of mistakes, compromises and difficult choices.  

The cast is packed with musical theatre royalty, and their performances alone make it worth the ticket. Jon Robyns and Aimie Atkinson are absolute powerhouses on stage. Robyns, as always, brings a commanding presence and flawless vocals, while Atkinson lights up the room with her charisma and razor-sharp delivery. You could tell from the roaring applause after each of their songs that the audience was packed with fans who were here for them—and they didn’t disappoint.

Then there are the child actors, Cian Eagle-Service and Sophia Goodman, who completely stole the show whenever they were on stage. Both are already seasoned pros, and they were handed some of the best, funniest lines in the script. Their comedic timing was spot-on, and you could feel the audience collectively melt every time they delivered a punchline.

A standout for me was Ava Brennan in the role of Gia. Her character had a bit more depth than the rest—probably because she was one of the few with an actual backstory—and Brennan made the most of it. She brought layers of vulnerability and strength to Gia that made her feel like the most grounded part of the whole production.

Visually, the show nails it. The staging is atmospheric and immersive, pulling you into this slightly chaotic world. The lighting and set design do a lot of heavy lifting, creating mood and texture even when the plot feels a bit all over the place.

Here’s where things get tricky. Sitting in the audience, I overheard someone behind me say, “It feels like it was written by an AI,” and honestly? I kind of get it. The story felt like a mishmash of Phantom of the Opera, Les Misérables, and Oliver!, without the emotional through-line to tie it all together.

At times, it felt more like a vanity project—a chance for the creators to pull in their talented friends from the musical theatre world for a few nights on the Palladium stage. And while the performances were top-notch, the narrative left me wondering who exactly this show was for.

This confusion was most obvious in the show’s tone. On one hand, you’ve got these funny child actors delivering sweet, light-hearted moments. On the other, there are raunchier numbers—especially from Aimie Atkinson—that felt completely out of place in a musical with kids. It was like the show couldn’t decide whether it wanted to be family-friendly or an edgier, adult-oriented piece.

Musically, while the cast gave their all, none of the songs really stuck with me. And for a musical, that’s a bit of a problem. I wanted to leave the Palladium with at least one tune bouncing around in my head, but instead, all I could remember were the powerhouse vocals—not the songs themselves.

Figaro: A Musical is one of those shows where the performances outshine the material. The cast—especially Jon Robyns, Aimie Atkinson, and Ava Brennan—are worth the price of admission alone. It’s a show that feels like it’s still searching for its identity. With some tightening of the narrative and more memorable songs, Figaro could be something special. But as it stands, it’s a star-studded ride that dazzles in moments but doesn’t quite hit the high notes it’s aiming for.

REVIEW: The Magic Flute

Published on by Maria Mădălina IfrimLeave a comment

Rating: 3 out of 5.

visually ambitious yet conceptually muddled

Opera North’s production of The Magic Flute offered a visually ambitious yet conceptually muddled interpretation of Mozart’s beloved opera. While there were some strong performances and technical feats, the overall execution left much to be desired, particularly in its narrative framing and thematic coherence.  

From the outset, the production’s choice to frame the story as a dream sequence—a little girl falling asleep and imagining the characters as people from her life—felt unnecessary and detracted from the magical, otherworldly essence that defines “The Magic Flute”. The opera thrives on its fantastical, suspension-of-disbelief premise, and grounding it in this overused and clumsily executed trope dampened its escapist charm. Instead of being transported to a world of princes, monsters, and ideologies, we were constantly reminded of the mundane reality behind the dream. Worse, the framing device raised unresolved questions: Was the girl trapped in her dream forever? Did the allegorical battle for enlightenment reduce to a domestic dispute with a troubling conclusion about gender dynamics? These ambiguities confused me more than they intrigued me.  

The central ideological conflict between the Queen of the Night and Sarastro was also underwhelming. What should have been a climactic battle of ideals felt more like a literal fight scene that leaned on spectacle rather than substance, leaving many in the audience scratching their heads. Why did the Queen’s attendants wield saber swords, evoking “Star Wars” rather than any coherent narrative logic?  

Anna Dennis delivered an impressive performance as the Queen of the Night, her vocal precision and dramatic presence standing out as one of the production’s highlights. Emyr Wyn Jones, as Papageno, brought charisma and humour, stealing the spotlight in moments that should have belonged to Tamino and Pamina. His chemistry with Pamina was far more convincing than that of the ostensible romantic leads. Msimelelo Mbali and Andri Björn Róbertsson, as Sarastro and the Speaker, added gravitas with their rich, resonant voices, anchoring the production in the lower octaves with authority and charm.  

However, the decision to perform the opera in English diminished some of its melodic and lyrical beauty. While translations can make the work more accessible, much of the original’s linguistic rhythm and nuance were lost, particularly in the Queen of the Night’s famous arias, which thrive on the precision of the German language.  

Visually, the production was a mixed bag. The technical achievements—projections, shifting walls, and visual effects—were impressive on their own but lacked a cohesive visual language. The costumes, blending influences from “Doctor Who”, “Black Mirror”, and “The Handmaid’s Tale”, felt derivative and clashed with the opera’s inherently whimsical and timeless spirit. This reliance on recognizable pop-cultural aesthetics undermined the production’s potential for originality.  

While the music was full of Mozart’s characteristic vibrancy and colour, this wasn’t mirrored on stage. The lack of whimsy and creative flair robbed the production of the magic the title promises. Instead of a joyful allegory of enlightenment, we were left with a fragmented, overly intellectualized take that failed to ignite the imagination.  

Opera North deserves credit for experimenting with new interpretations, but this production of “The Magic Flute” ultimately missed the mark. It would have benefitted from either embracing a bold neomodernist vision or staying true to the classic, fantastical spirit of the opera. Instead, it occupied an awkward middle ground, leaving its audience more perplexed than inspired.  

REVIEW: Ruddigore

Published on by Maria Mădălina IfrimLeave a comment

Rating: 5 out of 5.

“Everything I wanted from a Gilbert & Sullivan piece, and even more”

Opera North’s latest production of Gilbert and Sullivan’s “Ruddigore” is a triumph of wit and creativity, transforming a Victorian melodrama spoof into a vibrant, satirical experience that feels entirely contemporary. Directed by Jo Davies, the decision to reimagine the story in the 1920s proved inspired, injecting a fresh energy into this timeless classic while retaining its humorous critique of societal norms.  

From the opening moments, the production declared its ingenuity. The overture was accompanied by a silent film that cleverly and humorously detailed the backstory of Dame Hannah and Sir Roderic. This visual prologue not only set the stage for the melodrama to come but also served as a tribute to the aesthetics of early cinema, establishing the playful tone that permeates the show.  

The visual elements of the production were a feast for the senses. Richard Hudson’s evocative sets and Gabrielle Dalton’s period-perfect costumes combined seamlessly with Anna Watson’s lighting and Kay Shepherd’s choreography to create a cohesive, imaginative world. The artistic vision was as sharp as it was inventive, every detail contributing to the production’s rich tapestry.  

Amy Freston as Rose Maybud and Dominic Sedgwick as Robin Oakapple led the cast with standout performances. Freston’s portrayal of the overly proper, moralizing Rose was hilariously exaggerated, while Sedgwick’s self-absorbed Robin offered the perfect foil. Their chemistry was palpable, turning their unlikely romance into a comic highlight of the evening.  

The supporting cast delivered equally memorable moments. The seven cursed ancestors, brought to life by the illusionist Paul Kieve’s spectacular effects, were an absolute showstopper, literally emerging from their portraits in a scene that married technical wizardry with theatrical charm.  

John Savournin’s portrayal of Sir Despard Murgatroyd was a masterclass in character transformation. His transition from a villainous tyrant, introduced via a Punch and Judy tent, to a compulsively virtuous philanthropist was both hilarious and compelling. Helen Evora, as the unhinged Mad Margaret, was a perfect counterpart, their eccentric yet oddly touching dances providing some of the production’s biggest laughs.  

Opera North’s “Ruddigore” was a sheer delight from start to finish. With its brilliant satirical edge, impeccable performances, and imaginative staging, it showcased the enduring appeal of Gilbert and Sullivan while making the material feel utterly relevant to a modern audience. A production as bold and inventive as this deserves to be celebrated—and savoured.

REVIEW: The Turn of The Screw

Published on by nancynewberry1 Comment

Rating: 4 out of 5.

An intriguing opera carried by the brilliant cast and orchestra

There will always be something incredibly special about seeing a performance at the London Coliseum. It is such a beautiful venue and the production value is always noticeable. However, traditional opera, which the English National Opera excels at, can be difficult to engage with, so it is great to see performances like this one of Benjamin Britten’s The Turn of the Screw. It is a more modern opera, written in the 1950s, which has all of the qualities of Britten’s sometimes challenging music, combined with the intrigue of the story The Turn of the Screw by Henry James. Britten’s suspenseful music brings the psychological thriller to life. Whilst Britten’s music is often not obviously melodic, the tunes suited the ambiguity of the story in this instance. 

The performance itself from the ENO benefitted from brilliant staging. With two walls moving back and forth to make up the house and hospital wards scenes. The walls cleverly transition from one place to another, whilst also capturing the tense feeling of the characters with regularly changing locations. Black and white film of old houses, forests and lakes was projected onto the walls during certain instrumental sections or arias which added to the discomfort, using the classic shaky camera trope that makes the audience feel on edge. 

The storyline was well portrayed, if a little confusing at times, showing a medical ward with patients, including the governess, whose flashbacks we saw playing out on stage. The flashbacks went to her time as a governess for two children in a quaint house that had a dark past. This played out in a sequence of ambiguous events, with mysterious apparitions portraying the dark themes and entering the minds of the children and the governess. Whilst the themes were evident, it was often difficult to understand the juxtaposition between patient characters being present on stage during the flashbacks that the governess was having. 

Whilst the storyline was a little tricky to follow, the orchestra and the singers truly were the star of this performance. For Duncan Ward, it was their conducting debut with the ENO. Ward directed the orchestra incredibly sensitively, really bringing the most out of the complicated score. In Patricia the percussion section was well utilised throughout. Sopranos, Ailish Tynan and Gweneth Ann Rand, both had stunning voices which they blended and matched to each other beautifully during their many moments on stage together. Additionally Robert Murray’s strong but serene vocals played into his ghostly character well. I particularly liked how he was often singing from off stage or different levels around the scenery, sometimes on the roof or looking through a window which added to the suspense. Also a huge credit to young performers, Jerry Louth and Victoria Nekhaenko, who had a number of incredibly complex solos. Louth’s crystal clear tone in particular shone through in some of the fiendishly difficult moments where the tune jumped around in an unmusical way. 

It was great to see a different style of opera to some of the more traditional performances, and I would encourage anyone wanting a taste of opera to see this performance. However, the telling of the story was a little weak, so I would suggest going for the music and the intriguing set rather than focusing on the confusing storyline.