On Wednesday night, Scottish Opera brought Benjamin Britten’s Albert Herring to the Festival Theatre in Edinburgh, offering an evening of comic charm and lively satire. Directed by Daisy Evans, this fresh production reimagines Britten’s comic opera in the 1990s English countryside, a setting that adds humour and nostalgia to the story. Originally inspired by a Maupassant tale, Albert Herring revolves around its shy, naive protagonist, Albert, who’s crowned the town’s “May King” after no “morally suitable” young woman is found. The plot follows Albert’s transformation as he wrestles with the town’s rigid expectations and his yearning for personal freedom.
Glen Cunningham’s portrayal of Albert captures both innocence and a quiet depth, making his character’s journey both touching and humorous. His warm tenor gives Albert a sympathetic voice, portraying the character’s struggles as a sensitive young man. As Albert finally breaks free from his overbearing mother and the town’s expectations, Cunningham’s performance captures the thrill of rebellion, making his escape a genuinely satisfying moment.
The formidable Lady Billows, played by Susan Bullock, serves as the opera’s moral centre and comic force. Bullock’s strong soprano and grand stage presence bring Lady Billows’ eccentricity and zeal to life, as she commands the town’s virtuous standards with a blend of comedy and self-righteous fervour. Bullock’s performance is complemented by Jane Monari’s lively portrayal of Florence, the housekeeper, adding delightful comic exchanges and a touch of gossip to the production. These characters bring Loxford’s nosy, uptight atmosphere into focus and set up Albert’s rebellion in a way that’s both humorous and relatable.
Meanwhile, Sid and Nancy, portrayed by Ross Cumming and Chloe Harris, add a spark of youthful mischief. Their playful energy enlivens the production, especially as they conspire to spike Albert’s drink, unknowingly setting him on his path to freedom. The mayhem that ensues when Albert tastes independence brings out the full comic potential of Britten’s score, and the chemistry between Sid and Nancy is a playful counterpoint to Lady Billows’ rigid morality.
The ensemble as a whole succeeds in creating the bustling, gossipy environment of a small English village. Their lively interactions capture the stifling closeness of Loxford, where everyone knows everyone else’s business. This backdrop enhances the comedy and amplifies the social pressures Albert faces, making his eventual decision to break away all the more satisfying.
One of the production’s great strengths is William Cole’s conducting of Britten’s sharp, witty score. With a 13-piece orchestra, Cole brings out Britten’s humour and vitality, creating a vibrant, intimate sound that suits the theatre and draws the audience into the action. The music supports the comedy without overwhelming it, and Cole’s deft direction heightens key moments, especially Albert’s drunken scene, where Britten’s playful orchestration shines.
The choice to set the opera in the 1990s adds a visual charm to the production. Kat Heath’s set design—a charmingly detailed village hall—captures the era’s essence with nostalgic touches, like dated decor and retro costumes, that subtly enhance the satire. This 90s backdrop provides a humorous layer, making the village’s traditionalism seem quaintly out of place in a time already experiencing change.
Scottish Opera’s Albert Herring is a delightful blend of comedy and social commentary, exploring Britten’s themes of conformity and self-discovery in a way that feels both timeless and contemporary. With a talented cast, vibrant staging, and spirited musical direction, this production turns the Festival Theatre into a lively window into Britten’s witty world. Audiences will leave both laughing and reflecting on the quirks of small-town life—and the courage it takes to break free.
Reviewer: Nazaret Ranea
Reviewed: 13th November 2024
North West End UK Rating: