‘the drama and musicality of this bold, innovative, and modern interpretation work brilliantly on every level’
Director Sarah Helsby Hughes and producer Joseph Buckmaster superbly reimagine this gripping tale of power, propaganda, and politics with its underlying themes of love and religion coursing through in an all too recognisable authoritarian regime in this English libretto version translated by Christopher Cowell.
Floria Tosca (Lorna Rushton) is the state’s celebrated ‘it-girl’ whilst her lover Mario Cavaradossi (Joseph Buckmaster) lives dangerously at the edges of the regime, using his work as an artist at a local church, overseen by a Sacristan (David Bicarregui), to preserve truth in a world built on fear and fake news. When he helps a hunted dissident, Angelotti (George Elson), he draws the attention of Baron Scarpia (Michael Dewis), the ruthless Chief of Police, aided by his associates Spoletta (Sinead D’Abreu-Hayling) and Sciarrone (Daniel Garvin). At the mercy of Scarpia’s twisted desires, Tosca is forced into making a horrific bargain: sleeping with the man she hates to save the man she loves. Can she find a way out?
The production’s focus is very much on the darker elements at the heart of the piece, and the drama and musicality of this bold, innovative, and modern interpretation work brilliantly on every level; I don’t think I’ve ever seen an audience so invested in the drama unfolding before their eyes, as the political volatility of an early 19th C Rome is transferred with such ease to a modern-day setting.
In the outdoor space of the Sir Ken Dodd Performance Garden, the simplest of staging is more than enough to capture the individuality of each scene, with a tactical use of props and some inspired visual and sound effects overseen by Heather Buckmaster creating an all-round powerful effect with an attention to detail second to none.
Musical Director Benjamin Ellin has abstracted the necessary elements of the score, with the heavy lifting – or rather skilled and sensitive playing – from pianist Jonathan Ellis, who captured the rhythm and intensity from the off and coordinated perfectly with the on-stage action.
The three leads were excellent with Rushton embodying the contrasts in her character from jealous rage to passionate love, underscored by a deeper fragility and insecurity. Her impressive tonal consistency was illustrated no better than with her moving rendition of ‘Vissi d’arte’.
J Buckmaster excelled as Cavaradossi in a powerful performance that demonstrated strong acting prowess alongside a beautiful and sensitive delivery of ‘E lucevan le stelle’, whilst Dewis perfectly caught the narcissism of a character lurking somewhere between psychotic and psychopathic in a powerfully raw and physical performance and impressive vocal renditions, with his Act I closing ‘Te Deum’ quite mesmerising.
With strong support from Elson and Bicarregui in Act I, I also enjoyed Gavin’s nonchalance and D’Abreu-Hayling’s impressive characterisation, with the latter’s relationship with Scapia another clever addition. A special mention for the chorus of Nia Edwards, Rachael Hughes, and Cerys MacAllister, who delivered some fine vocal support – much of it from off-stage – and some strong acting performances which contributed to the necessary modern spin in this production that contains the perfect balance between established singers and rising stars.
Flat Pack Music is a music charity based in North West England, dedicated to transforming perceptions of and engagement with music and the performing arts.
Tosca is performing at a number of venues across the North of England, further information https://www.flatpackmusic.co.uk/
Review Date: 1st August 2026
Star Rating: FIVE