Mark-Anthony Turnage's lively family opera 'The Railway Children' breathes fresh life into E Nesbit's 1906 classic. By transposing the story to the 1980s, the composer and librettist Rachael Hewer have banished the nostalgic fog surrounding the original tale.
Hewer's forthright libretto is largely effective, but falters towards its conclusion, meandering into a curious assemblage of unrelated set pieces. However, for most of the opera, it possesses a propulsive energy reminiscent of John le Carré meets the Famous Five – neatly captured by Stephen Langridge's production and Nicky Shaw's versatile set.
The former's lithe-limbed staging masterfully shifts the action between government office and railway platform with pinpoint precision. Jonathan Mark's subtle lighting enhances this effect, utilizing an "open-and-shut" camera technique to create a seamless visual flow. The costumes range from Cold-War chic to 1980s baggy attire, while props including a Rubik's Cube cleverly underscore the narrative.
Turnage's energetic score is a highlight, handsomely performed by conductor Tim Anderson and the Glyndebourne Sinfonia. Train noises serve as an effective metaphor for emotional tension, while shifting strings and harp create intimate moments. The music nods to Richard Rodney Bennett's soundtrack to Murder on the Orient Express, drawing a powerful sonic connection between disparate elements.
Jessica Cale shines as Bobbie, conveying both her growing sense of responsibility and adolescent angst. Matthew McKinney brings Peter to life with his enjoyably gangly portrayal, while Henna Mun steals scenes as Phyllis, convinced that the story revolves around her own exploits.
The supporting cast delivers strong performances across the board, particularly in their characterizations of Cathy and David, who serve as whistleblowers at odds with authority. Gavan Ring's charming Mr Perks and James Cleverton's authoritative Sir Tommy Crawshaw add depth to the narrative, while Bethany Horak-Hallett skillfully weaves Yolanda into the complex web.
Ultimately, 'The Railway Children' feels more calculated than effortless, but it remains a commendable addition to Turnage's operatic canon.
Hewer's forthright libretto is largely effective, but falters towards its conclusion, meandering into a curious assemblage of unrelated set pieces. However, for most of the opera, it possesses a propulsive energy reminiscent of John le Carré meets the Famous Five – neatly captured by Stephen Langridge's production and Nicky Shaw's versatile set.
The former's lithe-limbed staging masterfully shifts the action between government office and railway platform with pinpoint precision. Jonathan Mark's subtle lighting enhances this effect, utilizing an "open-and-shut" camera technique to create a seamless visual flow. The costumes range from Cold-War chic to 1980s baggy attire, while props including a Rubik's Cube cleverly underscore the narrative.
Turnage's energetic score is a highlight, handsomely performed by conductor Tim Anderson and the Glyndebourne Sinfonia. Train noises serve as an effective metaphor for emotional tension, while shifting strings and harp create intimate moments. The music nods to Richard Rodney Bennett's soundtrack to Murder on the Orient Express, drawing a powerful sonic connection between disparate elements.
Jessica Cale shines as Bobbie, conveying both her growing sense of responsibility and adolescent angst. Matthew McKinney brings Peter to life with his enjoyably gangly portrayal, while Henna Mun steals scenes as Phyllis, convinced that the story revolves around her own exploits.
The supporting cast delivers strong performances across the board, particularly in their characterizations of Cathy and David, who serve as whistleblowers at odds with authority. Gavan Ring's charming Mr Perks and James Cleverton's authoritative Sir Tommy Crawshaw add depth to the narrative, while Bethany Horak-Hallett skillfully weaves Yolanda into the complex web.
Ultimately, 'The Railway Children' feels more calculated than effortless, but it remains a commendable addition to Turnage's operatic canon.
just saw The Railway Children at Glyndebourne and I'm still buzzing from the energy! Stats: 88% of audience members reported feeling emotionally invested in the story 
. The sets & costumes were on point - only 2% thought they looked dated 
. Turnage's score was a highlight, with train noises creating some seriously tense moments 
️. Did you know that opera attendance has been steadily increasing since 2020? 
That's over 30 million more people attending operas last year alone! 
I mean, who wouldn't want to see Mark-Anthony Turnage's lively score bring this classic story to life in the 80s? 
It's like a match made in heaven - propulsive energy, witty dialogue, and catchy tunes that'll stick with you long after the curtain call! 
The production is top-notch, from Stephen Langridge's clever staging to Nicky Shaw's rad set design. And can we talk about Jessica Cale's Bobbie? She totally nails those angsty teenager vibes 
. It's like Turnage and Rachael Hewer have taken a timeless tale and injected it with fresh life - what's not to love? 
. it made me think about how our relationship with time affects our perceptions of art - can something be timeless if it's adapted to fit modern sensibilities? and what does that say about our desire for nostalgia in a rapidly changing world? i mean, do we want to cling to the past or move forward with a fresh perspective? 
! I loved how they transposed the story to the 80s - it added such a fresh spin to the classic tale. The set design was so clever, like they took inspiration from spy novels and Famous Five adventures! 
The music by Turnage is infectious, I couldn't help tapping my feet along with the train noises 
!
. I mean I get it they're nostalgic for the retro vibes and all, but come on 'The Railway Children' is from 1906! 
it's like trying to put diesel in a gas tank, just doesn't work. anyway, Mark-Anthony Turnage's score is pretty fire tho 
. that Train noise thing is genius. and props to Rachael Hewer for trying to give the story a fresh spin, even if some parts are a bit wonky 
! Stephen Langridge's production is like nothing I've seen before - how do they manage to switch between those two environments so seamlessly? And Nicky Shaw's costumes are on point too, it was like I was transported to a different era 
. The score by Mark-Anthony Turnage had me hooked from the get-go, and Jessica Cale's performance as Bobbie really stood out to me 
. Only thing that threw me off was the pacing towards the end, felt a bit rushed but overall it was still super engaging 
.
stephen langridge's production is on point with the set design and lighting 
. The music, though - oh man, it's infectious! I loved how they used train noises to show emotional tension, that was so clever. And the performances? Top-notch! Jessica Cale as Bobbie was amazing, she totally captured her character's angst 
. What did you think of this production? 
Still, I suppose if you're into that kind of thing, it might be worth checking out...but only if you want a spotless production 
! Stephen Langridge's production is super clever, all about shifting between government office and railway platform with precision 
. And the set design? Whoa! Nicky Shaw's got some serious skills 
. The performances are on point too - Jessica Cale shines as Bobbie and Henna Mun steals scenes as Phyllis 
. Overall, it's a solid addition to Turnage's operatic roster... not perfect, but definitely worth checking out 
I loved the costumes in this opera tho its like they took old pics from 80s and made them into costumes haha 
and James Cleverton's character Sir Tommy Crawshaw sounds like a total boss 
and Matthew McKinney's Peter was so funny! The whole cast did an incredible job, even the minor characters had great lines 
. My only nitpick is that it felt a bit...calculated at times, but overall I'm just so glad they made this happen