A lively family opera is what Mark-Anthony Turnage and Rachael Hewer have achieved with their adaptation of E Nesbit's classic novel The Railway Children. By transposing the story to the 1980s, they've successfully shed the nostalgia that often surrounds its original publication in 1906.
The libretto by Hewer is dramatically effective, capturing a fast-paced John le Carré meets Famous Five vibe with Stephen Langridge's lithe-limbed production perfectly mirroring it. The versatile set, employing an open and shut camera effect, skillfully shifts the action from government office to station platform in a matter of seconds. Nicky Shaw's costumes span from Cold War chic to 1980s baggy attire, adding to the overall sense of time and place.
Turnage's energetic score is handsomely realised by conductor Tim Anderson and the Glyndebourne Sinfonia, bristling with motoric effects that cleverly utilise train noises as a metaphor for emotional tension. Shifting strings, harp, and flute add intimacy to scenes while snippets from The Rite of Spring hint at Tarpolski's ominous presence.
The cast delivers strong performances across the board, particularly Jessica Cale as Bobbie, Matthew McKinney as Peter, and Henna Mun as Phyllis. Rachael Lloyd and Edward Hawkins share a powerful bond as Cathy and David, their mutual activities as whistleblowers given greater prominence in this adaptation.
Gavan Ring makes an endearing Mr Perks while James Cleverton lends authority to Sir Tommy Crawshaw, who feels more like a deus ex machina than intended. Bethany Horak-Hallett shines as the devious Yolanda.
The evening ultimately belongs to Turnage, whose adaptation may not feel quite effortless but is nonetheless a commendable addition to the operatic canon.
The libretto by Hewer is dramatically effective, capturing a fast-paced John le Carré meets Famous Five vibe with Stephen Langridge's lithe-limbed production perfectly mirroring it. The versatile set, employing an open and shut camera effect, skillfully shifts the action from government office to station platform in a matter of seconds. Nicky Shaw's costumes span from Cold War chic to 1980s baggy attire, adding to the overall sense of time and place.
Turnage's energetic score is handsomely realised by conductor Tim Anderson and the Glyndebourne Sinfonia, bristling with motoric effects that cleverly utilise train noises as a metaphor for emotional tension. Shifting strings, harp, and flute add intimacy to scenes while snippets from The Rite of Spring hint at Tarpolski's ominous presence.
The cast delivers strong performances across the board, particularly Jessica Cale as Bobbie, Matthew McKinney as Peter, and Henna Mun as Phyllis. Rachael Lloyd and Edward Hawkins share a powerful bond as Cathy and David, their mutual activities as whistleblowers given greater prominence in this adaptation.
Gavan Ring makes an endearing Mr Perks while James Cleverton lends authority to Sir Tommy Crawshaw, who feels more like a deus ex machina than intended. Bethany Horak-Hallett shines as the devious Yolanda.
The evening ultimately belongs to Turnage, whose adaptation may not feel quite effortless but is nonetheless a commendable addition to the operatic canon.
I think what struck me most about this opera was how it shows that even with familiar stories, you can still make them fresh and exciting for new audiences 
. And I love how they've updated the setting to give it a more contemporary feel - it's like looking at an old friend through new eyes 
. But what really resonated with me is how this opera highlights the power of human relationships 
, especially in the face of adversity. The bond between Cathy and David, for example, is just so beautifully portrayed 
. And I think that's what makes this adaptation truly special - it's not just about the music or the story, but about the connections we make with others 
.
I gotta say, this Railway Children opera is a real treat! 
Jessica Cale shines as Bobbie - she's got this whole 'plucky orphan' vibe down pat. And don't even get me started on Tim Anderson's conductor skills 
I mean, who wouldn't want to see The Railway Children reimagined in the 80s? 
And the music? Forget about it! Mark-Anthony Turnage knows his stuff and that score is giving me LIFE! 
I do wish Gavan Ring was more convincing as Mr Perks tho, feels a bit awkward 
. And the music? Absolutely thrilling! The way Turnage uses train noises as a metaphor for emotional tension is pure genius 
The set design sounds super cool with that camera effect 
, but I'm not sure if it's working for me yet 
. And what's up with the train noises being used as metaphors for emotions? 
Is that just my brain struggling to keep up? 
it's like they totally nailed the vibe, but then again, what if they didn't? What if the 80s setting was actually too on point and they lost some of that nostalgic charm? I mean, Mark-Anthony Turnage is genial in his direction, but wouldn't a more restrained approach have been better? And those train noises? They're so bombastic, it's like he wanted to out-train the trains themselves 
. Jessica Cale's performance as Bobbie was so relatable, you could feel her determination 
. All in all, it's an opera worth checking out if you haven't seen it yet! 
This is just another attempt to control our minds with a sugar-coated narrative 
. And don't even get me started on the cast... they're all just pawns in this game of cat and mouse 
. I mean, what's really going on behind those charming smiles? 
, and Henna Mun's Phyllis stole every scene she's in 
. The set was so clever too - I loved how it could change from a government office to a train platform in seconds 
!
I'm loving this new adaptation of The Railway Children! 
. And can we talk about that set? It's like they transported us straight to 1980s Britain 
. But overall, it's a solid adaptation that's definitely worth checking out! 
. But what really stood out for me was the cast, everyone did such great jobs 
. Jessica Cale as Bobbie was particularly memorable, and I loved how they showed Cathy and David's relationship in this adaptation 
. Only thing that kept it from being perfect was James Cleverton's character feeling a bit like a plot device 
!