Turandot

Otherworldly

Turandot

by Giacomo Puccini, libretto by Giuseppe Adami and Renato Simoni

Instant Opera at Normansfield Theatre, Teddington until 30^th March

Review by Brent Muirhouse

Perhaps to make distinct this version of Turandot, an opera performed seemingly since the year dot, Instant Opera’s production at the Normansfield Theatre sought to capture these themes within a striking dystopian future, set in 2184 in the Asimovian-sounding ‘Eastern Hemisphere Central Sector 52/08 – 93/54’. This premise initially grabbed the audience as a promise of a bold re-imagining that, while not fundamentally altering the traditional narrative, added a distinct visual texture to the performance. Indeed, if the audience wasn’t drawn in by this, they almost certainly were when taking their seats as half the theatre was filled with a forty-strong orchestra, under the adept direction of Alice Farnham, and a cast of a similar size.

This staging (directed by Valeria Perboni) was an impressive feat: the quaint and historic Normansfield Theatre’s space was packed almost to bursting with the musical and dramatic personnel, transforming the room into something that did indeed resemble a different realm and universe. The orchestra, at seat level, felt equally part of the performance, while the remaining space teemed with movement and melody, as performers navigated a world steeped in a Blade Runner-esque aesthetic. Whilst the story remained largely traditional, the costuming choices leaned heavily into this vision: steely greys and blues dominated, save for the white robes of the Emperor, a striking visual cue to his authority. The dancers of Kingston Ballet School further enriched the production, feeling almost extraterrestrial (or dancing like a robot from 2184?) in their whimsical choreography, adding to the overwhelming sense of spectacle.

The sprawling cast meant there was barely a quiet moment in the two hours forty-five minutes duration (including at the interval, when many of the cast mixed with audience members in the excellent subterranean bar area). Nicholas George, also the artistic director, took on the role of Ping, with Richard Milnes and Gary Rushton as his fellow ministers, Pang and Pong, forming a trio that provided moments of Marx brothers style levity amidst the opera’s intensity.

Nicola Said’s portrayal of the tragic Liù was at times affecting, giving the role due tenderness. It was, however, the two leads whose outstanding performances really had the stage blasting out into the audience like say, given its futuristic setting, the Starship Enterprise going in to hyperspace.

Anando Mukerjee, as Calaf, delivered an outstanding performance, bringing not just vocal power as a tenor but an undeniable magnetism. His rendition of Nessun Dorma was, unsurprisingly, a highlight of the evening. Opposite, Eleanor Greenwood shone as the titular Turandot, her commanding presence matched by a voice that soared effortlessly over the ensemble with an incredible delicacy and balance in soft and loud moments. The two together elevated an already intriguing and vastly enjoyable production to a scale befitting a theatre of a much larger, international reputation; all the more lucky for those in attendance.

Instant Opera’s commitment to its production having a futuristic setting may not have fundamentally reshaped the opera’s storytelling, but it offered a visually compelling interpretation, and one that framed Turandot as a tale of power and resistance in a world on the brink. At times this brink was borderline literal, with the almost chaotic fullness of the stage only added to the opera’s relentless energy, a dynamic interplay of voices, movement, and orchestration that left a lasting impression. The dystopian undertones were always secondary to the main show of operatic talent and melody, and yet by the conclusion of Turandot the sheer musical force of proceedings had left me with a satisfied sense of a strange overwhelm, so that maybe for a minute I could’ve been in 2184 all along too. Whatever the century was, the final reprise of that famous aria continued in my mind as I stepped out into the streetlights of suburbia.

Brent Muirhouse, March 2025

Photography by Jon Lo Photography