The Flying Dutchman – The Lowry

I’m afraid this production of The Flying Dutchman, an opera about a man cursed to wander the oceans forever, was itself all-at-sea, lacking direction, and one feared, at times, would sink under the weight of its sadly misguided reimagined central conceit.

It was kept afloat by the excellence of the cast, but the production itself did not seem to know where it was going because the basic idea behind it did not work. In their own words, they “have re-imagined The Flying Dutchman to take place on the ‘ship of state’: the Home Office. Daland is the ‘Home Secretary’ and the Dutchman and his crew become displaced people seeking refuge.”

This analogy just did not work and whilst it was a noble effort to make The Dutchman a man seeking asylum it did not fit with the opera and became confusing. There is nothing wrong with setting the opera in the modern day, but unfortunately, this idea just did not fly.

The start of each act began with the voice of a real asylum seeker. As moving as their testimony was it jarred within the context of the opera, which is a simple story of a man, literally lost at sea, searching for true love and redemption.

I understand why they made this decision. Senta, who is the emotional centre of the opera, talks about the need in life for compassion and integrity. Her call for empathy could be interpreted as a signal for a better understanding of the asylum debate.

Ironically, the piece lost passion and emotion because of the unnecessary politicisation of the plot. One felt at a distance from it and it was plummeting to the sea bed under the weight of its own portentousness. Also, the set design, whilst technologically brilliant just added to the sense of gloom by being too dark and dingey.

Thankfully, a wonderful cast saved it, and Layla Claire (Senta), braved the storm of this production with a voice almost as big as the ocean. It was simply breathtaking. In addition to being technically perfect, her portrayal was captivating.

Her fixation with The Dutchman felt real rather than a simple fantasy as soon as she started to sing the ballad. Every crescendo created a wave of suspense that smashed triumphantly upon the rocks, and every syllable was perfect.

Some baritones thunder through the role of the Dutchman with unbridled fury; others smoulder with tortured intensity. Robert Hayward (The Dutchman), fell into the latter category but he did at times come over as a man, ready for bed, who had simply had enough.

His voice was rich and cavernous navigating Wagner’s lines with ease. His diction was crisp, his phrasing elegant, and he was full of existential exhaustion, perhaps he was a little too tired. He was so pained you wondered why Senta fell in love with him.

They decided to have the same person play Erik and The Steersman (Edgaras Montvidas). Erik could be seen as a forlorn, lovesick character. Montvidas played him like a guy who had had enough of all the silly fantasy and wanted to bring Senta back to him and reality.

His appeal to Senta in Act III was more than just a love ballad; it was the cry of a man who was going to use everything he could to win her back. This Erik was a tragic hero, full of fervour, conviction, and moral outrage.

Daland (Clive Bayley) had a certain lightness and vocal polish. Because of the conceit, instead of being a weary seafarer, he was a cynical politician and father willing to sell his daughter off for the riches he thinks we will receive.

Director Annabel Arden and designer Joanna Parker took a brave creative decision that unfortunately did not come off. I overheard one theatregoer say to her partner at the end, “That was weird” and sadly I could not disagree with her.

It continues on tour and for more information, go to – https://www.operanorth.co.uk/whats-on/the-flying-dutchman/

Reviewer: Adam Williams

Reviewed: 15th March 2025

North West End UK Rating: