“This isn‘t our sort of thing, you know”, was the remarkable response by Glyndebourne’s founder John Christie to Benjamin Britten’s second chamber opera at its premiere in 1947. No less extraordinary, though presumably with no prejudice, is that it has taken some 78 years before this comedy of manners has reached the Coliseum. Bizarrely, it has been billed as a semi staging, though it’s hardly on the lines of English National Opera’s Duke Bluebeard’s Castle presented last season.
Since the Arts Council’s decision in 2022 to apply a caveat to its funding, this is ENO’s first shared production between London and Salford. Inevitably, the production is one that can be toured – and more’s the pity that this outstanding cast and Antony McDonald’s staging cannot be taken to other venues across the country. Ironically, with such superlative performances, where singing, acting, and stage direction are uniformly outstanding, this production could impress on an empty stage. The set, modest as it is, comprises a pair of beige coloured uprights indicative of a breakfast room or shop, along with an assortment of functional tables and chairs, brighter colours provided by the 1950s costumes and floral wreaths. With no hint of a Suffolk village, it’s an anywhere location where its judgemental and hypocritical residents can be lampooned not just as provincial archetypes, but as universal figures.
In the title role of this chamber opera is Caspar Singh as the virtuous, put-upon lad whose selection by the local committee as Loxford’s May King is prompted by the absence of any suitably chaste local girl for the coveted honour of May Queen. When Albert’s lemonade is spiked by his well-meaning friend Sid at the celebratory tea, his awkwardness evaporates, and after ‘a night on the tiles’ he returns to ordinary life and kisses both Sid and his girlfriend Nancy in a burst of unbridled liberation. Not something I suspect one would have seen at the Sussex venue at its first outing. Singh’s voice was at its most impressive when bringing heartfelt emotion to his self-pitying aria.
Heading the village committee is the imperishable Lady Billows, vividly portrayed by Emma Bell, who brings to this pillar of society thundering tones and echoes of Captain Mainwaring and Hyacinth Bucket – her military uniform and swagger stick adding to her authority. Fully formed characterisations also belong to Eddie Wade as Mr Gedge, the creepy vicar cum scoutmaster, always ready to take advantage of young innocents with a bag of sweets. Marc Le Brocq persuades as the pompous Mayor Mr Upfold, who turns in a glorious patter song praising the wisdom of Lady Billows, while her sidekick, Miss Pike, allows Carolyn Dobbin to make hay with her obsequiousness. Meanwhile, Andri Björn-Róbbertson’s Superintendent Budd (who prefers “a decent murder with a corpse”) is every inch a PC Plod. Completing the committee, Aiofe Miskelly as Miss Wordsworth is delightfully bird-like and brings reminiscences of Joyce Grenfell when rehearsing the children for Albert’s crowning ceremony.
Elsewhere, the partnership between Anna Elizabeth Cooper as a sweet-natured Nancy and Dan D’Souza’s mischievous Sid works well, especially winsome in their walking bass duet outlining the difference between their lives and Albert’s. Leah-Marian Jones, as Albert’s interfering mother, attempts to keep a tight rein on her son’s May King earnings, while the three children Abigail Sinclair, Natasha Oldbury, and Henry Karp hold the stage as a trio of lively and knowing miscreants.
Was a ‘stage manager’ really necessary? The idea felt slightly contrived and underexplored, with an actor sitting at a desk showing changing clock times, prompting audience applause and adding occasional sound effects. Hardly breaking the fourth wall, but the candlelit threnody (when Albert is thought to have died) was a nice touch. Far more convincing was the playing of the 13-piece ENO orchestra, where Britten’s numerous solo passages were exquisitely rendered thanks to clear direction and superb pacing from Daniel Cohen.
David Truslove
Albert Herring
Music: Benjamin Britten
Libretto: freely adapted by Eric Crozier from a short story by Guy de Maupassant
Cast and Production Staff:
Lady Billows – Emma Bell; Florence Pike – Carolyn Dobbin; Miss Wordsworth – Aiofe Miskelly; Mr Gedge – Eddie Wade; Mr Upfold – Marc Le Brocq; Superintendent Budd – Andri Björn Ròbertsson; Sid – Dan D’Souza; Albert Herring – Caspar Singh; Nancy – Anna Elizabeth Cooper; Mrs Herring – Leah-Marian Jones; Emmie – Abigail Sinclair; Cis –Natasha Oldbury; Harry – Henry Karp
Director & Designer – Antony McDonald; Lighting Designer – Matthew Richardson; Costume Associate – Ilona Karas; Stage Manager – Ashton Hall; Orchestra of English National Opera; Conductor – Daniel Cohen
Coliseum, London, 13 October 2025
All photos © Genevieve Girling