Mark-Anthony Turnage and Rachael Hewer have successfully reimagined E Nesbit's classic novel 'The Railway Children' into an energetic family opera that breathes new life into the 1906 tale. By relocating the story to the 1980s, they've managed to distance it from nostalgic connotations, instead imbuing it with a modern, thrilling quality.
Turnage's score is a masterclass in energy and emotion, with train noises expertly used as a metaphor for emotional tension throughout. The conductor Tim Anderson and the Glyndebourne Sinfonia bring this kinetic music to life beautifully, evoking a sense of urgency and danger at times, particularly during the thrilling tunnel accident sequence.
The cast delivers strong performances across the board, with standout turns from Jessica Cale, Matthew McKinney, and Henna Mun as Bobbie, Peter, and Phyllis respectively. Each brings their own unique energy to their roles, convincingly conveying the emotional highs and lows of the story.
Supporting performances are equally impressive, with Rachael Lloyd and Edward Hawkins delivering a powerful duet as Cathy and David Perks, while Gavan Ring makes an endearing Mr Perks, and Bethany Horak-Hallett brings devious charm to Yolanda. Even James Cleverton's relatively underwritten role as Sir Tommy Crawshaw is filled with authority.
While the pacing falters slightly towards the end, particularly in a scene that includes a rather extraneous chorus celebrating the colour of paint representative of the national railway network, this minor quibble cannot detract from Turnage's overall success. 'The Railway Children' may not be as effortless as his recent adaptation of Festen, but it's a welcome addition to the operatic canon nonetheless.
Turnage's score is a masterclass in energy and emotion, with train noises expertly used as a metaphor for emotional tension throughout. The conductor Tim Anderson and the Glyndebourne Sinfonia bring this kinetic music to life beautifully, evoking a sense of urgency and danger at times, particularly during the thrilling tunnel accident sequence.
The cast delivers strong performances across the board, with standout turns from Jessica Cale, Matthew McKinney, and Henna Mun as Bobbie, Peter, and Phyllis respectively. Each brings their own unique energy to their roles, convincingly conveying the emotional highs and lows of the story.
Supporting performances are equally impressive, with Rachael Lloyd and Edward Hawkins delivering a powerful duet as Cathy and David Perks, while Gavan Ring makes an endearing Mr Perks, and Bethany Horak-Hallett brings devious charm to Yolanda. Even James Cleverton's relatively underwritten role as Sir Tommy Crawshaw is filled with authority.
While the pacing falters slightly towards the end, particularly in a scene that includes a rather extraneous chorus celebrating the colour of paint representative of the national railway network, this minor quibble cannot detract from Turnage's overall success. 'The Railway Children' may not be as effortless as his recent adaptation of Festen, but it's a welcome addition to the operatic canon nonetheless.
! The train noises were genius, added so much energy to the performance. And I'm obsessed with Jessica Cale's portrayal of Bobbie, she totally brought that character to life 
! Matthew McKinney and Henna Mun as her brothers were great too - their chemistry was on point 
. But what really got me was how they captured the emotions of the story without making it feel too sappy or nostalgic 
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! The energy they brought to this classic tale is totally infectious! The train noises are literally used as a metaphor for emotional tension throughout - genius! 
The cast delivers AMAZING performances, with standout turns from Jessica Cale, Matthew McKinney, and Henna Mun 
. I loved how each of them brought their own unique vibe to their roles, making the story feel fresh and modern 
. My only minor grip is that pacing could be tighter towards the end, but honestly, it's a tiny quibble 
. This opera is a MUST-SEE for anyone who loves music, theatre, or just an epic tale of family and adventure! 
! I mean, who wouldn't want to see E Nesbit's classic tale reimagined with modern energy? Turnage's score is on point, and the way they've woven train noises into the music is pure genius. It totally gets the emotional tension right 
. Overall, this opera adaptation is a huge win for me - it's got heart, energy, and a killer soundtrack 
It's like Turnage is speaking straight to my soul. The cast did an amazing job too, especially Jessica Cale - she totally brought Bobbie to life! 
but honestly, minor quibble aside, this family opera is a must-see! 
! Turnage's score is insane - that train noise thingy really adds to the tension 
. And the cast? Unbelievable! Each performance stood out in its own way, especially Jessica Cale as Bobbie - she brought so much depth to that character 
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. The conductor and orchestra did an amazing job bringing the music to life, especially during that intense tunnel accident sequence... my heart was racing! 
. it felt like they were trying too hard to be clever . other than that, tho, the cast was on point and the whole thing was just so much fun 
. the cast was amazing, especially jessica cale who played bobbie - she was like "woah, im a girl in a manors trying to find my fam" and i was HERE FOR IT 
It's great that the modern twist gives it a fresh feel, especially for us older folks who grew up with the original book 
. I'm curious to hear Mark-Anthony Turnage's score - has he got some magic tricks up his sleeve to make this 1906 tale sound like something from today? 
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. minor quibble tho: that paint scene was meh 
but other than that... CAN WE GET A RAINBOW-Coloured Railway Network NOW?! 
. The way they bring this 1906 tale to life with modern energy is pure magic 
What do you guys think? Did they succeed in breathing new life into the classic tale?
. I think what really saves this production is the talented cast - each actor brings their own unique energy to their role, just like how politicians bring different perspectives to the table 
. And let's be real, who doesn't love a good underdog story? Sir Tommy Crawshaw might have been underwritten, but he still brought authority to his role - kinda like how opposition parties bring opposing views to the table