Review: DIDO AND AENEAS, Theatre Royal Bath

It's a double first at Theatre Royal Bath with Henry Purcell's Dido and Aeneas. Regarded as England's first opera when initially performed around 1688, it's also the first opera to be performed in the intimate Ustinov Studio.

Produced by arrangement with the Royal Opera House in Covent Garden, we're treated to a close-up recital of just eight singers and a string quartet, plus harpsichord. There's something special about being only a few feet away from a small number of artists in a small venue, where a real connection is made between the audience and those on stage.

The evening kicks off with prologue poem, "Mad Girl's Love Song" by Sylvia Plath - "I shut my eyes and all the world drops dead" ­- a nod to Dido, Queen of Carthage's love for Aeneas, the Trojan prince, whose ship was wrecked on Dido's shores while fleeing besieged Troy.

After a shaky start, Dido declares her love for Aeneas. But the Sorceress and accompanying witches conjure a storm and send an elf disguised as Mercury with a command from the gods to entice Aeneas to Italy. Aeneas says he doesn't want to leave Dido, but he has to obey the gods. After he goes, Dido feels betrayed - and has only one option left.

Dido's tragic end is foreshadowed beautifully by director Isabelle Kettle's blocking and clever hand movements that involve lots of Macbeth-like hand washing and spattered blood from a dead pheasant. There's also a rather forbidding Chekhovian knife.

Hyemi Shin's symmetrical (matching the symmetry of the music) Escher-esque set, with geometric tiers and steps, adds to the aura of magical realism. Costumes are simple for the barefooted performers - pure white for Dido, and black trousers or skirts and beige tops for everyone else. Simon Bennison should be commended for a subtle lighting design with no distractions.

The young, assured cast fills the Ustinov with a great deal of energy. Blessed with a strong, distinctive voice, the all-out star of the evening is soprano Ella Taylor, playing Dido's handmaiden and the second witch.

In her role as the sinister Sorceress, mezzo-soprano Georgia Mae Bishop is also impressive; closely followed by New Zealand soprano Madison Nonoa's excellent Dido and soprano Lauren Lodge-Campbell's sparky First Witch.

Tenor Richard Pinkstone's drunken sailor brings light relief with his fellow sailors, Hugo Herman-Wilson and Ben Knight, who also offer up a rich bass chorus.

Enthusiastic music direction by Michael Papadopoulos (who also plays the harpsichord) is reflected in the liveliness of the musicians. It's good to see them on stage and very much part of the action.

In her ambitious first season at the Ustinov, artistic director Deborah Warner is taking a number of risks. They aren't all paying off, but when she gets it right - like she certainly has with Dido and Aeneas - then we're rewarded with something that is wonderful and compelling.

Dido and Aeneas runs at the Ustinov Studio, Theatre Royal Bath until November 5.

Photo Credit: Tristram Kenton