Così Fan Tutte Review: A Witty Circus Staging with Sass and Humour
Not so long ago, Mozart and Da Ponte's opera Così Fan Tutte seemed fraught with pitfalls, its surface cynicism, cruelty, and outdated sexual politics posing a challenge for modern productions. However, Phelim McDermott's 2014 English National Opera staging, now revived at the London Coliseum, tackles these issues head-on with a witty garnish, transforming them into sheer entertainment. In a week where such themes might feel heavy, this production lands as a refreshing relief, offering a clever and enjoyable evening.
Setting the Stage: Coney Island and Circus Flair
The overture immediately sets the tone for what's to come. In front of a shimmering lamé curtain, twelve circus performers unfold themselves one by one from a trunk, carrying placards that promise Lust! Intrigue! Big Arias! From the start, this staging has its tongue firmly in its cheek. The setting is Coney Island in the 1950s, with Act 1 evoking Happy Days meets motel farce, thanks to the nimbly rotating walls of Tom Pye's set. Guglielmo and Ferrando, played by Darwin Prakash and Joshua Blue, channel the Fonz in their disguises, adding a playful nod to pop culture.
Balancing Distraction and Focus
There is plenty of potential distraction throughout the performance. The dozen extras bend, tumble, sword-swallow, and fire-eat their way through the show, while the ENO chorus appears as mostly silent fair-goers, complete with what might be a real candy-floss machine. Yet, the production skillfully keeps attention where it needs to be. By the end, even the circus performers seem aware they are not the main attraction, as something more mind-boggling unfolds in their midst. The cynicism is not one-sided; when Guglielmo rants about women's fickleness, he is watched from behind a hamburger stand by an increasingly large posse of female extras, looking bored and unimpressed as they wipe beer glasses—a neat way of throwing the shade back onto the men.
Strong Cast and Energetic Orchestra
This revival benefits from a robust cast and an energised orchestra conducted by Dinis Sousa. Jeremy Sams's agile and funny translation of the text comes across clearly, with the harpsichord zipping along underneath. Andrew Foster-Williams is on superb form as the spivvy Don Alfonso, occasionally offering tantalising glimpses of self-doubt. Darwin Prakash and Joshua Blue make a delightful double act as Guglielmo and Ferrando, with Blue standing out for the smooth line of his tenor and his warmth on stage.
Outstanding Performances and Memorable Moments
Taylor Raven's quieter but well-sung Dorabella serves as an excellent foil for an outstanding Fiordiligi from soprano Lucy Crowe. Her Act 2 aria, sung from a Ferris-wheel carriage, provides a rare but effective moment of intense focus. Ailish Tynan is on cracking form as Despina, balancing mischievous energy with the sense of having seen it all before. While it might be unclear why two such respectable girls are staying unchaperoned at her cheap motel, such nitpicking questions are beside the point. Better to enjoy Così than to pull it apart.
The production runs at the London Coliseum until 21 February, followed by a semi-staged concert at the Bridgewater Hall in Manchester on 27 and 18 February.
