REVIEW | The Handmaid’s Tale, English National Opera
Written by Annie
*Disclaimer: Gifted tickets in return for an honest review
Having made it my New Year’s resolution to throw myself out of my comfort zone, and experience new things; it seems fitting that my first review of 2024 was for something entirely different. We were very generously invited to the press night for the ENO’s production, The Handmaid’s Tale at the London Coliseum, and I must say I had the most wonderful evening.
As much as I’ve always enjoyed and appreciated opera, I have never been to watch a production since I’ve lived in London. Admittedly I’ve let the stereotypical ‘high brow’ persona, and word-of-mouth punchy ticket prices put me off, but have always wanted to go experience it for myself. I’m not going to pretend that I’m an operatic expert by any means, but instead, I'm going to review both the show and my experience from the perspective of a novice, in the hopes that it will inspire some of you, our lovely readers, to go out and experience opera for yourselves.
The ENO are famous for its eclectic seasonal programmes, which offer both classic and contemporary operatic productions, self-testifying that they “take a fresh inspiring approach to opera to reflect the diversity of our culture”. They really are pioneers in bringing opera into the 21st century by encouraging new audiences to experience opera like never before. The ENO’s revival of the award-winning The Handmaid’s Tale is based on the dystopian novel by Margaret Atwood and is just as beautifully haunting in its operatic form as it is in Atwood’s writing.
The music by Danish composer Paul Ruders focuses on choral chanting to create an uneasy environment, in which the handmaids are trapped within and really embeds the discomfort of their situation and the storyline. Kate Lindsey performs the leading role of heroine Offred, and offers such a gloriously painful libretto, that it is hard to not feel every ounce of her anguish. Lindsey is a stunning mezzo-soprano singer, and I love how Offred is portrayed in this score, making her libretto incredibly articulate and varied. Nothing is stuck at a single level of either light/airy soprano-highs, or at lowly, dark alto levels. It brings so much complexity and emotion to the role.
The staging of the production was so haunting, offering rich draped fabrics, which you’d perhaps associate with an opera, but in a muted colour palette which offered a clinical effect that matched the eeriness of the storyline. The stripped-back staging, paired with the choral chatting, felt almost reminiscent of archaic theatre, whilst so incredibly dystopian - it was the perfect blend of being current whilst so far removed from real life. I was pleasantly surprised when I arrived last night and realised that the ENO offers such incredible offers on tickets; all under 21’s can get free tickets to all productions, and they also offer discounted tickets at all levels for 21-35 year olds. On top of this, they provide £10 entry level tickets to all performances, for everyone - making the opera as accessible as ever. I had always assumed that opera was out of my budget so had rarely entertained the idea, as much as I wanted to go - so to know tickets are so well priced, and having seen such an emotive production, has really opened my eyes to a whole new world of theatre. If, like me, you're keen to broaden your horizons, I strongly suggest you check out the ENO’s 24/25 programme, and immerse yourself in a new genre. How many times have you watched a film you were unsure of and ended up loving? Perhaps opera will be your newfound obsession! It’s so important to celebrate all art forms, and experience as much as we can.
The ENO really are enabling as many people, of all ages and backgrounds, the ability to experience the opera and revel in its marvel, and that’s a marvellous thing!
Limited performances at the London Coliseum until 15 February 2024.
☆ ☆ ☆ ☆
