La Bohème – The Lowry

Phyllida Lord’s classic production, designed by Anthony Ward, is one of the longest running at Opera North having been in their repertoire since 1993. James Hurley’s current revival is big on the comedy but sadly fails to hit the high notes that this staple of the operatic calendar deserves.

With the action transposed to late 1950’s Paris, we meet four struggling bohemians living in a garret: a poet, Rodolfo (Anthony Ciaramitaro); a painter, Marcello (Yurly Yurchuk); a philosopher, Colline (Han Kim); and a musician, Schaunard (Seán Boylan), who arrives having had some good fortune and they agree to celebrate by dining at Café Momus. They are interrupted by their landlord, Benoît (Jeremy Peaker), but cleverly trick him into revealing he has been playing around which allows them to throw him out in comic moral indignation without paying their rent.

Whilst the others leave, Rodolfo remains but is interrupted by a knock at the door: a young girl needs to light her candle but then becomes faint and drops her key. As they search, Rodolfo discovers her name is Mimi (Olivia Boen). As his impatient friends call for him, Rodolfo and Mimi declare their love for each other.

As the party dine in the hustle and bustle of the Latin Quarter, with toymaker Parpignol (Kamil Bien) selling his wares, a former lover of Marcello, Musetta (Elin Pritchard) appears with a rich and elderly admirer, Alcindoro (Peaker), in tow, and, to his embarrassment, she sings a risqué song to garner Marcello’s attention.

The opera resumes some months on with a clearly unwell Mimi searching for Marcello who is working in a nearby club. She tells him of Rodolfo’s jealousy although we discover this is a sham: he is too poor to care for her and hopes she will find love with a wealthier suitor. They are reunited in their love whilst, in contrast, Marcello quarrels with Musetta over her flirtatious behaviour.

Some weeks later we return to the garret where Marcello and Rodolfo are caught up in nostalgia for their girlfriends who have found new, wealthy lovers. Suddenly Musetta appears with Mimi in tow: reconciliations seem in order but will it all end too soon?

Ward’s design cleverly sets each scene within a giant white frame designed to capture pivotal moments in the characters’ lives and the mid-twentieth century Paris is not at odds with the original’s 1830 theme, but with the garret now more of an oversized artist’s studio, we lose the necessary intimacy of the opening and closing scenes. Conversely Act II’s street scene demands space with a doubled-up Chorus of Opera North and the Opera North Youth Company ever-present on stage yet feels somewhat cramped by the rotating cafeteria, even if that in itself is a clever visual device. Act III’s country tavern has become a bustling and hustling noirish club and whilst the views in serve to intrigue, they also distract from the love story unfolding in front. I like the red colour theme threading throughout the whole of the production embracing life, love, and death but on the whole some excellent production ideas seem a little disjointed from the actual opera itself.

The emphasis on the comedy was entertaining but in doing so we lost the sensitivity of Rodolfo’s character as well as the tempestuous nature of Marcello and his relationship with Musetta, one which defines love-hate, so I was less keen Act III’s suggestion of blunt violence, all of which affects your sympathy towards the two main pairings. Throw in an absence of on-stage chemistry in each of the relationships and some struggles with range and I was left feeling a little lukewarm about the whole thing.

The comic foil is always provided by Colline and Schaunard and Kim and Boylan didn’t let us down in this regard through strong performances, with Kim delivering a fine solo in Act IV and Boylan singing strongly throughout.

The other saving grace in many ways was the music and conductor Garry Walker drove the story forward with beautiful pacing that captured the emotional intensity of the piece and engaged us at every turn: a similar passion on stage would have been the icing on the cake rather than what was ultimately a perfunctory production.

La Bohème is one of two current productions from Opera North, further details https://www.operanorth.co.uk/

Reviewer: Mark Davoren

Reviewed: 12^th November 2025

North West End UK Rating: