Delighted to share this review from the opening night of Keith Burstein’s The Prometheus Revolution, which was performed as part of the Grimeborn Opera Festival at the Arcola Theatre. Full review here.
Fulham Opera field a dazzlingly strong young cast to give Burstein’s opera its world premiere; singing is lyrical and compelling throughout, piano accompaniment from Ben Woodward richly expressive, direction from Sophie Gilpin clear and clever. Sunny Smith’s pared-down, efficient design uses a grid of steel ropes on a platform in the centre of the playing space to suggest the glass and steel of a City office, or a prison cell; the addition of blinds, swags or banners suggests meeting rooms, hotel balconies and Movement HQ. However, despite music, design and direction all being on point, The Prometheus Revolution is a severe test of performance, and ultimately only the strength, charm and skill of Fulham Opera’s company carries us through this piece…
Caroline Carragher’s Wona is outstanding; James Schouten’s Des, brilliantly vivid; Nick Dwyer’s oily Zapruder, eye-catchingly charismatic. Burstein’s inconsistent, lumpily quote-laden score … doesn’t honestly deserve them.
Caroline Carragher 