English Touring Opera - The Rake's Progress

English Touring Opera return to Norwich Theatre Royal this week, and it is with a stylish production of Igor Stravinsky's Hogarthian 'The Rake's Progress' that we are first treated. Possibly the best-loved of all modern English-language operas, it is the cautionary tale of how young Tom Rakewell wishes for wealth and happiness, but is separated from both by diabolic stranger Nick Shadow.

April Dalton's sets are richly imbued with optical distortion, invoking the surrealistic imagery of Dali, whilst creating a distorted array of rakes and slopes that the cast have to negotiate and traverse. Whilst perhaps not as iconic as the Hockney sets that re-appeared during Glyndebourne’s 2021 touring production, Dalton's use of mirrors, and a vast range of props including both a giant white horse and a Punch and Judy booth, there is a well-placed sense of cosmopolitan confusion to her vision of 18th century London.

Act 1 begins with scenes of pastoral Spring ritualism, and a company dressed as animals dancing around the Maypole. Lazy Tom Rakewell (Frederick Jones) pledges his troth to Anne Trulove (Nazan Fikret) but secretly yearns for an easy pathway to fame and fortune. Right on cue, Nick Shadow (Jerome Knox) arrives with news of a large inheritance for Tom. He and Nick duly leave for London.

Once in London, Tom next wishes for happiness, marrying exotic celebrity circus star, Baba, and proceeds to indulge in all the pleasures of city life. However, he loses his fortune, investing heavily in a machine that he believes will turn stones into bread. All Tom's possessions, including Baba, are sold at auction, but large bills still remain. Nick, too, is demanding payment for his services, but settles instead on the outcome of a card game. Tom wins the game, only to be cursed with madness, and ending up in Bedlam. The opera’s epilogue reminds us that “For idle hands, and hearts and minds, the Devil finds a work to do.”

Polly Graham, as director, has given us a bold new insight into 'The Rake's Progress', and its timely reminder that the streets of London are not always paved with gold. Or glass, or mirrors. Jones and Knox cleverly combine as Tom Rakewell and Nick Shadow, delivering a mirror-like interpretation of these two characters. Elsewhere, Nazan Fikret's voice is impressively light and bright as the spurned Anna Trulove, and contrasts the exotic colour and tone of Lauren Young’s Baba.

The orchestra is led by Jack Sheen, whose clear love for Stravinsky's score shines in abundance. The placing of the harpsichord on the corner of the stage is a neat touch.