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Opera for Everybody: The Story of English National Opera | reviews, news & interviews

Opera for Everybody: The Story of English National Opera

Opera for Everybody: The Story of English National Opera

ENO's rocky road to all-inclusiveness gets an easy ride from Susie Gilbert

Love it or loathe it, the powerhouse effect is back at English National Opera. The era which gave its name to the sobriquet, that challenging time in the 1980s and early 1990s when Davids Pountney, Alden and Fielding skewed the stage and Mark Elder matched their vision in the pit, now has an equal. The ENO calendar year has just ended with Rupert Goold's Chinese restaurant shake-up of a Turandot , everything we saw beautifully thought out and focused to knife-edge brilliance, and every sound emanating from the ENO Orchestra and Chorus under Ed Gardner sensual-perfect. Alas, the kind of vigorous debate it's generated is hardly reflected in Susie Gilbert's hard-working, diligent history of the company.

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A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.
The Observer, Kate Kellaway

 

Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.

 

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Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.

 

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