Così Fan Tutte - ENO ★★★★

Walking into the London Coliseum, you’re instantly met with the glitz of a shimmering gold curtain and a touch of circus branding with the show’s title displayed boldly in the centre of the proscenium arch. This aptly sets the scene for the ENO’s Così fan tutte, Mozart’s comic opera, which they have cheekily set in a 1950s Coney Island world, filled with neon lights, games of chance, and a knowingly tacky charm. When this production premiered in 2014, it was an attempt at a fresh and entertaining new backdrop for a story that has always been about testing loyalty and playing with people’s emotions, and now with the trickery of the fair rolled in too.

The opening makes this clear right away. A Barnum‑style circus troupe bursts onto the stage, acting as a lively chorus who keep returning throughout the evening. They’re part of the visual identity of the production but also act as a kind of support team for Don Alfonso, helping him steer the plot and nudge the lovers into his elaborate experiment. It’s a fun idea that gives the show great energy. The story follows two young soldiers who, tricked by the cynical Don Alfonso, agree to test the loyalty of their sweethearts. Disguised and pretending to be strangers, they try to seduce each other’s fiancée, leading to a tangled mix of temptation, confusion, and uncomfortable truths.

The fairground theme runs through almost every scene: booth-like sets slide on and off, carnival props appear regularly, and the bright 1950s costume styling stays consistent, whilst not breaking the bank. There are moments, though, when the busy staging feels slightly at odds with Mozart’s elegant music. A few scenes (and the ensemble) ‘push’ the concept harder than they probably need to, such as when the doctor cures the poisoned Ferrando and Guglielmo using ‘vibrations’ created by a spinning contraption you might find in a school play. But while the fit isn’t perfect, it never becomes a major distraction, and the production still finds space for both comedy and quieter emotion.

Musically, the performance is in good hands. Under Dinis Sousa, the ENO Orchestra plays with clarity and liveliness. The score’s humour, sadness and shifting moods are all well delivered, and the ensemble in particular have a lovely balance, albeit some awkwardness at times as they shifted back and forth to find their mark in each scene. Mozart’s writing has a natural sparkle that shrouds such distractions, though, and this performance lets the music shine without rushing or dragging.

Among the men, the results are a little more mixed. Joshua Blue sings very strongly, with a solid, well‑controlled tenor. But while his voice lands beautifully, his acting doesn’t always reach the same level, sometimes leaving scenes feeling slightly uneven. The same is true of Dawrin Prakash, who has an attractive baritone but could use more physicality and clarity in the comic moments. Their duet work is still enjoyable, but you’re left wishing their characterisation had the same assurance as their singing.

Andrew Foster‑Williams, however, is excellent as Don Alfonso. His bass‑baritone fills the Coliseum with real authority, and he manages to be dry, clever, and quietly commanding without ever pushing too hard. He anchors the production, and his scenes with the returning circus troupe are some of the most enjoyable in the show.

Visually, the staging offers some clever ideas and enjoyable moments. However, almost all the set movement is manually operated, and so many of the scenes are distracted by the ensemble pushing and pulling pieces into place. While this has a handmade ‘fairground’ charm, it does mean the show lacks the smooth magic one might expect from its setting. Perhaps that is the point, but a few automated tricks or more imaginative transitions could have heightened the sense of spectacle.

Still, the production keeps the emotional tension alive. Beneath the bright colours and jokes, Così fan tutte is ultimately about what happens when affection is tested and people discover things they would prefer not to know. Phelim McDermott’s staging doesn’t shy away from this. Even when the circus energy is at its highest, the music reminds us that these characters are genuinely vulnerable.

By the final curtain, this production of Così delivers a lively and thoughtful version of Mozart’s tricky comedy. It may not land every idea perfectly, and the fairground concept occasionally stretches thin, but the musical quality and several standout performances make it a rewarding night at the opera.