REVIEW - ALBERT HERRING – ENGLISH NATIONAL OPERA | THE LOWRY | 21/10/2025
- Sarah Monaghan
- 5 hours ago
- 3 min read
ENO’s Albert Herring at The Lowry: A Well-Intentioned but Uneven Evening in Loxford
English National Opera brought Albert Herring to The Lowry in Salford as part of its ongoing commitment to performing across the country. Directed and designed by Antony McDonald and conducted by Daniel Cohen, this production of Benjamin Britten’s 1947 comic opera arrives in the North-West following performances at the London Coliseum.
I’ll admit, I went in knowing very little about this particular Britten opera – and it’s probably not quite my kind of humour. That said, plenty of people in the audience were laughing throughout, clearly enjoying its quirky satire on small-town respectability.
From the outset, ENO’s goal was clear: to introduce new audiences to Britten’s witty, quintessentially English take on morality and conformity. It’s a bold choice for a regional visit and, while the production has admirable qualities, it doesn’t quite land all of its comedic punches.
Set in the fictional Suffolk village of Loxford, the story centres around Albert Herring — a shy, obedient young greengrocer who finds himself crowned May King when no virtuous maiden can be found to take the role. After being celebrated (and suffocated) by the town’s well-meaning but meddling elders, Albert experiences an unexpected awakening when his lemonade is secretly spiked at the celebration feast. What follows is a night of mischief, discovery, and the dawning of Albert’s independence in this delightfully mischievous coming-of-age tale.
This ENO production plays with that sense of performance by introducing a visible stage manager who rings bells, cues sound effects, and even prompts audience applause. The idea gives the piece a playful, self-aware energy — part village pageant, part live television broadcast — neatly echoing the post-war era’s fascination with new forms of entertainment. Yet, while clever in concept, it sometimes creates a sense of distance from the warmth and humanity at the opera’s heart.
The staging embraces simplicity, relying on modest panels and signage to hint at the village’s shops and meeting spaces. This pared-back design creates a sense of intimacy but occasionally limits the flow of physical comedy, which thrives on a more dynamic environment. Transitions between scenes sometimes feel drawn out, briefly interrupting the comic rhythm Britten’s score encourages.
Matthew Richardson’s lighting provides texture and depth, particularly in moments of quiet reflection, while the costumes capture the spirit of mid-century England — from Lady Billows’ sharp authority to Albert’s innocent charm as May King. These thoughtful touches bring warmth and personality to an otherwise restrained production.
The music itself remains the undisputed highlight. Conducted by Daniel Cohen, the reduced ensemble delivers Britten’s playful score with clarity and wit, allowing his intricate melodies and understated humour to shine. Even when the staging falters, the music consistently reminds us of the opera’s charm and craftsmanship.
The cast are uniformly strong, each carving out distinct, characterful performances. Caspar Singh leads as Albert, balancing vulnerability and comic awkwardness beautifully. His clear tenor voice captures both Albert’s innocence and his gradual awakening with real warmth.
Emma Bell brings commanding presence and biting authority to Lady Billows, the self-righteous matriarch whose strict moral code drives much of the chaos. Dan D’Souza and Anna Elizabeth Cooper (Sid and Nancy) are a delight – cheeky, energetic, and perfectly in tune with each other, bringing vibrancy and life to every scene they share.
The younger performers, Natasha Oldbury (Cis) and Abigail Sinclair (Emmie), steal several scenes with their mischievous energy, while Leah-Marian Jones is excellent as Albert’s overbearing mother. It’s a cast that clearly enjoys the material, and that joy fills the theatre.
ENO’s Albert Herring at The Lowry is a curious mix of charm and restraint. The performances are impressive, the music sparkles, and the direction has clever moments – yet the overall tone can feel uneven, and its very British sense of humour won’t be for everyone (myself included!).
Still, judging by the laughter around me, plenty of the audience were having a brilliant time, proving that Britten’s gentle satire continues to connect with modern viewers.
It’s an enjoyable evening of opera, even if it didn’t fully hit my personal sweet spot. For newcomers to Britten or those curious about ENO’s northern chapter, it’s a solid and well-sung introduction.
A tuneful, well-performed opera that charms more than it dazzles.
ENO’s Albert Herring is at The Lowry until Wednesday 22nd October 2025. Tickets are available for purchase through the link provided below.
If you would like more information about the show, please click the button below to visit the show's official website.
Photo Credit - Genevieve Girling
*Our tickets for this show were kindly gifted in exchange for an honest review
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