‘There is much debate about the future of opera; this production’s resonance to modern-day realities provides an alternative, considered, and engaging riposte’
English National Opera’s production in collaboration with Factory International and BBC Philharmonic Orchestra most definitely does not look away as contemporary composer Du Yun and librettist Royce Vavrek tear up the operatic copy book with their fusion of multiple musical genres in this uncompromising Bacchae-esque tale of modern slavery and human trafficking in this UK premiere under the direction of Kip Williams who is making his English National Opera and UK opera debut.
Mr and Mrs X.E (Rodney Earl Clarke; Allison Cook), are a desperate couple facing financial crisis and a crumbling marriage and they long for a better life. When they discover two bruised and battered angels (Matthew McKinney; Mariam Wallentin) in their garden, they bring them inside to nurse them back to life.
Care quickly turns to control as the couple seize the opportunity to exploit the spiritual beings in pursuit of fame and fortune, subjecting them to degrading, inhumane practices, whilst another angel (Keith Pun) observes in horror from afar: heaven is most definitely not a place on earth.
Williams’ dynamic staging utilises a slowly rotating turntable to immerse the audience in the production, with projection capturing multiple viewing angles, which as we strain to see, raises the question of our own part in the exploitation unravelling on-stage, although running at eighty minutes without an interval and the audience stood statically throughout, it’s not the only strain taking place.
Marg Horwell’s set design is a clever construct as the couple’s house is intricately built wall-by-wall, room-by-room as the story develops with recognisable domestic spaces eventually enclosed with only the windows through which to see in. Whether by design or fault, the sightlines to the elevated projection screens – with surtitles – suffered as the external walls were finally erected which forced most to turn away from the stage to follow the action on an opposing screen. Whilst the idea of revealing what goes on behind closed doors is a good one, I wonder if an inside-out approach would have been more beneficial.
Horwell’s costumes caught the ambience of a heavenly scene through to one of carnage, from hedonistic party to social media frenzy, the latter particularly impactful as it turned the influencer-lens on itself, with the mood and themes throughout cleverly reflected in Jack Knowles insightful lighting design, whilst Ash J Woodward’s imaginative video design, captured through three on-stage camera operators (Michael Barnes; Matthew Caulton; Rachel Laird), complements Dominic Bilkey and Joseph Reiser’s well considered sound design.
Conductor Baldur Brönnimann leads a reduced BBC Philharmonic Orchestra – Violin: Midori Sugiyama; Viola: Philip Heyman; Cello: Hannah McFarlane; Flute: Alex Jakeman; Oboe: Christopher Redgate; Clarinet: Elliot Gresty; Trumpet: Gary Parr; Tuba: Chris Barranon; Percussion: Sophie Hastings; Lute: Toby Carr – with some distinction through a series of musical themes, whose underlying dissonant layer, reminiscent of Britten, was more pleasantly set off by touches of jazz and rap, electronica and punk, as well as a choral element that was perfectly harmonised by the Kantos Chamber Choir– Elspeth Piggott; Rebcca Hardwick; Felicity Hayward; Dominique Saulnier; Lorna Day; Camilla Seale; Eleanor Minney; Lucy Wallis; Jack Harberd; James Connolly; Jack Lawrence-Jones; Greg Link – all of whom in turn demonstrated strong acting prowess through a variety of roles under the overall direction of Matthew Quinn.
Cook performed strongly with a believable performance that got to the nub of the nastiness of her character, whilst Clarke’s equally strong portrayal captured the naivety of his. With both providing contrasting vocal arrangements, this was a couple only in name. McKinney and Wallentin embodied the innocence of their respective angels whose amity is literally torn asunder with sensitivity and resonance to modern-day storylines. Pun’s continual presence, gaze, and delightful soprano offered a glimpse of sanity amidst the surrounding horror.
There is much debate about the future of opera; this production’s resonance to modern-day realities provides an alternative, considered, and engaging riposte.
Angel’s Bone performs through to 16th May at Aviva Studios in Manchester before transferring to London Coliseum for performances 16th – 31st October. Further details and booking https://www.eno.org/events/angels-bone/
Review Date: 12th May 2026
Star Rating: FOUR