A Modern Take on a Beloved Classic: 'The Railway Children' Opera Review
Mark-Anthony Turnage and Rachael Hewer have breathed new life into E. Nesbit's timeless tale of three sibling orphans, "The Railway Children", with an energetic and captivating family opera that's as thrilling today as it was when the book first hit the shelves in 1906.
In this reimagined version, set in the 1980s, Turnage's dynamic score skillfully weaves together disparate elements, from the eerie sounds of train noises to snippets of Igor Stravinsky's "The Rite of Spring", creating a rich tapestry that complements the narrative with stunning effect. The Glyndebourne Sinfonia, conducted by Tim Anderson, does full justice to Turnage's composition, imbuing every scene change and emotional moment with infectious energy.
Stephen Langridge's nimble staging brings the production to life, effortlessly shifting between government offices and train stations through Nicky Shaw's ingenious set design. With a keen eye for period detail, Shaw crafts a versatile world that transports the audience from one environment to another in the blink of an eye, while Mark Jonathan's pinpoint lighting precision illuminates every moment with surgical accuracy.
The talented cast delivers performances that are both authentic and endearing, with standout turns from Jessica Cale as Bobbie, Matthew McKinney as Peter, and Henna Mun as Phyllis. Rachael Lloyd and Edward Hawkins bring a palpable chemistry to the roles of Cathy and David, their characters' mutual struggle for justice resonating deeply in this production.
Gavan Ring shines as the kindly Mr Perks, while Bethany Horak-Hallett brings depth and complexity to the enigmatic Yolanda. Even the usually reliable James Cleverton can't elevate his underwritten role as Sir Tommy Crawshaw from a somewhat one-dimensional presence.
If Turnage's "The Railway Children" opera doesn't quite achieve effortless perfection, it is still an outstanding achievement that marks a commendable addition to the operatic canon. With its inventive score and dynamic staging, this production promises to captivate audiences of all ages with its timeless story of hope, resilience, and the unbreakable bonds of family.
Mark-Anthony Turnage and Rachael Hewer have breathed new life into E. Nesbit's timeless tale of three sibling orphans, "The Railway Children", with an energetic and captivating family opera that's as thrilling today as it was when the book first hit the shelves in 1906.
In this reimagined version, set in the 1980s, Turnage's dynamic score skillfully weaves together disparate elements, from the eerie sounds of train noises to snippets of Igor Stravinsky's "The Rite of Spring", creating a rich tapestry that complements the narrative with stunning effect. The Glyndebourne Sinfonia, conducted by Tim Anderson, does full justice to Turnage's composition, imbuing every scene change and emotional moment with infectious energy.
Stephen Langridge's nimble staging brings the production to life, effortlessly shifting between government offices and train stations through Nicky Shaw's ingenious set design. With a keen eye for period detail, Shaw crafts a versatile world that transports the audience from one environment to another in the blink of an eye, while Mark Jonathan's pinpoint lighting precision illuminates every moment with surgical accuracy.
The talented cast delivers performances that are both authentic and endearing, with standout turns from Jessica Cale as Bobbie, Matthew McKinney as Peter, and Henna Mun as Phyllis. Rachael Lloyd and Edward Hawkins bring a palpable chemistry to the roles of Cathy and David, their characters' mutual struggle for justice resonating deeply in this production.
Gavan Ring shines as the kindly Mr Perks, while Bethany Horak-Hallett brings depth and complexity to the enigmatic Yolanda. Even the usually reliable James Cleverton can't elevate his underwritten role as Sir Tommy Crawshaw from a somewhat one-dimensional presence.
If Turnage's "The Railway Children" opera doesn't quite achieve effortless perfection, it is still an outstanding achievement that marks a commendable addition to the operatic canon. With its inventive score and dynamic staging, this production promises to captivate audiences of all ages with its timeless story of hope, resilience, and the unbreakable bonds of family.
. I mean, it's just a classic tale that's been done before... like, a million times. The music's cool, don't get me wrong, but Turnage's score feels kinda overhyped to me 
. And can we talk about how some of the acting is pretty meh? Like, I got nothing against James Cleverton and all, but his character felt like a cardboard cutout 
. Still, it was an okay night out, I guess 
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. I mean come on, every single cast member gets a shoutout for being "talented" and delivering "authentic and endearing" performances? It sounds like the reviewer is just trying to butter up Mark-Anthony Turnage's genius score 
. And what about some actual criticism of the production's flaws? The reviewer glosses over James Cleverton's underwritten role as Sir Tommy Crawshaw without even giving it a second thought 
. It feels like they're just trying to convince everyone that this opera is the next big thing, without doing any real homework or analysis 
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. And can we talk about the set design? Nicky Shaw's set is like a work of art 
. It's not often you see train stations and government offices merged into one cohesive world... genius! The cast is also amazing, especially Henna Mun as Phyllis - she brings so much depth to her character. I'm definitely going to check out this production when it comes to my city 
. The music is fire though, can we get a soundtrack or something?
! Mark-Anthony Turnage's score is pure genius, it's like a symphony of emotions 
. The way they blended different styles and sounds was pure magic 
. And can we talk about Nicky Shaw's set design? Genius level stuff 
. The cast is also incredible, standout performances from Jessica Cale and Matthew McKinney made me laugh & cry in one go 
. What really got to me was the chemistry between Rachael Lloyd and Edward Hawkins as Cathy and David, their scenes together were SO emotional 
. Overall, I'm so here for this opera adaptation, it's a masterclass in storytelling 
It's like, totally nostalgic for me 'cause my mum used to read me that book when I was a kid, and now it's all grown up with fancy music and stage sets 
And the score? Forget about it! It's like a mixtape from the 80s, you know? Mark-Anthony Turnage has done an amazing job reviving E. Nesbit's classic tale 
Turnage's score is all over the place - I loved some bits but others just sounded like a bunch of random sounds thrown together. And don't even get me started on Mr Crawshaw, James Cleverton's character was so one-dimensional I felt like I was watching a YouTube video of a grumpy old man 
. And what's up with all the praise for Stephen Langridge's staging? I thought it was kinda generic and didn't bring anything new to the table 
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. I also adored the performances from Jessica Cale, Matthew McKinney, and Henna Mun - they totally brought Bobbie, Peter, and Phyllis to life 
. And let's not forget Rachael Lloyd and Edward Hawkins' chemistry as Cathy and David... it was so convincing! 
it just sounds so outta place i mean i get the wanting to be edgy and all but come on, its gonna scare off some of the younger audience members.
. But what really stood out for me was the set design, oh man! Nicky Shaw is a genius 
. And the staging? Wow, it's like they're on a train ride through time 
! I love how they've captured the period vibe without being too cheesy or over-the-top 
. The cast is awesome too - I especially loved Jessica Cale as Bobbie 
. If you haven't seen this opera yet, defo give it a try! 
. Can't wait for some actual reviews from critics who aren't just fawning over the production...