‘powerful and relentless’
Karolina Sofulak and Tim Claydon’s revival of Phyllida Lloyd’s 2006 production remains dark and minimalist as it thrusts us into the waves of human emotion and behaviour at the heart of an isolated fishing village which follows its own rules and doesn’t take kindly to outsiders.
Opening in silence, the imposing menace of communal judgement is eerily established as the performers silently appear to form a courtroom where Peter Grimes (John Findon), a fisherman in this small coastal village – the Borough – is on trial for the death of his apprentice. Although it is concluded it was due to accidental circumstances, Grimes becomes increasingly isolated as the villagers’ band together to ostracise him. When widowed schoolteacher Ellen Orford (Philippa Boyle) encourages him to take on another apprentice, John (Toby Dray), collective suspicions deepen and hostilities ensue as another tragedy beckons.
Whilst Britten’s original work is set in early 19th C, Lloyd chose to bring it into more modern times and this Revival remains faithful to that concept in terms of costume and props, but since this is sometimes at odds with the unfolding events, I’m not sure it adds much value. The power of the piece is in its portrayal of insular inward-looking culture and the mob mentality that often ensues and which has so many immediate and obvious parallels to the modern day.
Anthony Ward’s minimalist set design is cleverly built around a functional use of nets, ropes, and pallets, with the latter cleverly serving to create promenades, a court interior, and the enclosed wall of a public house with light and activity glinting out. The vast openness of the stage and the use of a painted backdrop reflect the wild expansion of the sea. Given the location of this performance, it brought to mind L.S. Lowry’s perhaps lesser know seascapes that cleverly enmesh land, sea, and sky into one: I wonder if the backdrop had been taken higher it would have perfectly subsumed us as well as the cast.
Given the overcast nature of the production, Ben Jacobs continues Paule Constable’s lighting design with an emphasis on looming shapes and shadows, with the cleverly projected silhouette of the altar cross creating not one but two shadows of itself with obvious religious connotations.
Conductor Garry Walker sweeps the Orchestra of Opera North through Britten’s dissonant score, its own momentum swaying and building to something powerful and relentless whose momentum combines rhythmically and violently with the frenzied on-stage action to submerge our senses, with the measured silences increasing the tension before its inevitable explosive release with the magnificent sea interludes.
This is very much an ensemble piece with the Chorus of Opera North forming an oppressive force both on and off stage, with their physical movement orchestrated by Claydon aligned to the brooding power of their voices combining to crash like the waves on to a shore.
From this ensemble cascade a cacophony of characters who are equally impressive in both singing and acting as they represent fishes caught in a different kind of shoal: retired Captain Balstrode (Simon Bailey) understands Grimes as much as he understands the local folk, but who will he side with? An all-knowing apothecary Ned Keene (Johannes Moore) services the individual addictions of those such as the inquisitive widow Mrs Sedley (Claire Pacoe) as well as the wider clamour, whilst Methodist fisherman Bob Boles (Stuart Jackson) fanatically stokes the flames as carrier Hobson (Blaise Malaba) spreads more than his usual loads. Auntie (Hilary Summers) serves the beer to fuel the wildest of thoughts whilst her nieces (Nazan Fikret; Ava Dodd) provide an attraction of a different sort to the perhaps not so upstanding lawyer Swallow (James Creswell), Reverend Adams (Daniel Norman), and Dr Crabbe (Dean Robinson), with strong cameos from Joseph Buckmaster.
Grimes is not necessarily a likeable character but then he is certainly up against it in terms of nature as well as the nurtured community, and Findon captures this duality in an impressive and moving performance that is equally haunting as it is hearty. Boyle’s performance is equally strong, beautifully reflecting kindness as she measuredly hints at the hope of a better future despite the underlying pervading sadness that will ultimately engulf them.
Peter Grimes is one of two touring productions at present and plays through to 20th March 2026. Further details including venues and booking https://www.operanorth.co.uk/whats-on/peter-grimes/
Review Date: 13th March 2026
Star Rating: FOUR