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Britten’s comedy about an unworldly young man’s fall from grace is slickly staged and delightfully played, with every singer making their mark
It’s a stretch to make this slight 19th-century satire speak to a modern audience, and tremendous singing is not enough to make it do so here<br>
Super show, a little slow at first, but blossoming into an escapist entertainment that can be enjoyed as much in the 2020s as it was in the 1880s
The Victorian penchant for the Gothic and the macabre is well known. It was seen in everything from architecture to popular novels – the blighted ruin created as a folly in aristocratic gardens, the grand guignol madness of the stage heroine, the séance as an after-dinner entertainment. Paranormal researchers looked for evidence of ghosts and even Sir Arthur Conan Doyle, creator of that most logical of sleuths, Sherlock Holmes, believed in fairies. It was inevitable then, given this ubiquity, that Gilbert and Sullivan would have a pop at it, as they had already done with so many English ins...