Opera North has presented its first staging of Tchaikovsky’s *Eugene Onegin* in 25 years, marking the company’s debut performance of the work in Russian. Under the direction of Patrick Nolan, the production relocates the opera from its original setting in the 1820s to a Moscow suburb during the 1980s, amidst the backdrop of Gorbachev’s Perestroika era. This reinterpretation situates the characters in a drab Soviet environment, featuring a grey apartment block or gymnasium where locals prepare for a Moscow Olympics pageant, complete with imagery of Lenin and period sportswear.
The set design by Leslie Travers emphasizes wooden bleachers and austere surroundings, with costumes reflecting 1980s athletic attire and gaudy jewelry. Despite efforts to evoke the era, some elements—such as the chandelier representing Prince Gremin’s residence—struggle to convincingly convey the social distinctions and grandeur inherent to the characters’ original milieu. The choreography incorporates a disco-inspired sequence that has drawn mixed reactions.
In the principal roles, baritone John Brancy’s portrayal of Onegin comes across as self-assured but lacks a clear demarcation from the Larina family’s class status. His voice is noted for its dry timbre, reaching its most compelling moments during Onegin’s stern rebuke when returning Tatyana’s letter. Tenor Caspar Singh’s Lensky offers softer vocal tones, while his duel with Onegin is staged with palpable intensity, arguably more so than the subsequent Russian roulette scene.
Supporting performances include Jingwen Cai as a vibrant Olga and Claire Pascoe as Filipyevna, both praised for their strong characterizations. Hannah Mason’s Madame Larina delivers a warm presence, while Florian Panzieri’s youthful Monsieur Triquet provides a fresh take on the traditionally elderly role. Conversely, Joshua Bloom’s portrayal of Prince Gremin, with a booming bass, was seen as less graceful. The Opera North Chorus offers vigorous, if conventional, support, and conductor Garry Walker elicits notable contributions from the orchestra, particularly the woodwinds.
Soprano Verity Wingate’s Tatyana is distinguished by a lyrical warmth and tenderness that effectively conveys the character’s youthful introspection, especially during the Letter Scene. Innovative staging allows Wingate moments of stillness to emphasize emotional complexity against a backdrop of Klimt-inspired visuals and evocative lighting by Malcolm Rippeth, which concludes the scene in a soft dawn glow. However, some moments in the production lack clarity amid its more experimental visual elements.
Additional twists in Nolan’s direction include casting Michael Threlfall in dual roles, notably the Fool in *King Lear*. This interpretation aims to present the Fool as Lear’s conscience, though portions of this staging have been critiqued for lacking dynamism. Nevertheless, Threlfall’s performance as the aging Lear later in the evening receives strong acclaim, with a nuanced depiction of frailty and regret that balances whimsy and pathos.
Supporting acting in the *Lear* segment features Jonathan Slinger as Gloucester, Jason Done as Kent, Lisa Diveney as Regan, and Ed Coleman as Cornwall. Nadine Shah’s portrayal of Goneril includes a droning soundtrack she composed, complementing Anna Fleischle’s striking set design, which utilizes chain-curtain circles and cylinders to create an atmospheric environment.
Despite its uneven moments and unconventional choices, the production is ultimately recognized as a compelling and atmospheric interpretation that captures the emotional depth of both Tchaikovsky’s and Shakespeare’s works.