WNO delivers yet another powerful and thought provoking production, with Melly Still at the helm of Benjamin Britten’s operatic masterpiece.

Peter Grimes, the tale of a fisherman who’s community turns on him following the death of his apprentice, is notoriously a challenge to watch and perform. Nevertheless, attendees at Southampton’s Mayflower Theatre were treated to a polished take on the tragedy, with Nicky Spence bringing an air of sympathy to the guilt ridden madness of Grimes. 

“A high tide coming will eat the land” chant the frenzied chorus as “the Borough” fret over a storm and the arrival of Grimes’ replacement apprentice, John (Maya Marsh). Still pairs Montagu Slater’s libretto, that perfectly encapsulates the crucial relationship between the sea and the town’s survival, with a minimalist yet highly effective set.

The use of ropes and fishing nets containing both “The Borough” and Grimes at times brilliantly portrayed the unforgiving hold of the sea over the townsfolk.

Their physical restraints only heighten the growing sense of bloodthirsty mob mentality as “The Borough” turns on Grimes. Perhaps the most notable expression of individuality in Still’s direction is the use of four ‘dancers’ to manipulate the set to offer effortlessly smooth transitions and further hammer home this metaphor.

The ominously foreboding boat suspended above the stage at times does more than to act as a reminder of Grimes’ constant and ever growing guilt.

It’s almost employed as an Angel of Death, looming over a solitary John moments before his demise. Needless to say, these simple yet powerful pieces of Chiara Stephenson’s set design beautifully portray what Still refers to as an ‘inescapable relationship with the sea’. Whether the minimalist nature of the set is entirely intentional or a reflection of the company's recent financial struggles, its effect is striking. 

Spence adds a heightened sense of vulnerability to his Grimes. He softens the misfit with brief acts of affection towards both Ellen and John thus making his volatile outbursts towards the two all the more shocking. Director Still amplifies these themes of abuse in her direction, with even Ellen and John striking Grimes at points, albeit to not much effect.

The tenor demonstrates a formidable rendition of the famous ‘Great Bear’ solo to further cement an ambiguous yet assured performance. Sadly his romantic counterpart Ellen, played by Sally Matthews, leaves a little more to be desired.

Despite a strong stage presence and impressive showcase of vibrato, Matthew’s choice of technique causes the weight of meaning in her lines to be lost at times. Despite this, her physical performance does well to reflect a character who is devoted yet conflicted and uneasy. 

Other performances of note come from David Kempster as Captain Balstode. Like Matthew’s Kempster does an excellent job at portraying a tortured loyalty to Grimes as he seeks to protect the fisherman from the wrath of the Borough.

Dominic Sedgwick as Ned Keene and Catherine Wyn-Rogers as the laudanum addicted amateur detective provide brief moments of comic relief in their sharp delivery. Sarah Connolly as landlady of the Boar, Auntie, delivered a warm and secure take on the character, showcasing her vast experience with a strong vocal performance. 

Arguably the unsung heroes of the show however, was the orchestra conducted by the brilliant Tomáš Hanus. Hanus’ interpretation of the score ensured a constant air of dread was held in suspense right up until the show's climax.

It was as if at times the mob themselves were being whipped up into a murderous frenzy by the passion and perfection in each bar that reverberated around Mayflower Theatre. 

In a time of political turmoil and suspicion amongst nations, Britten’s classic is as relevant as ever with the WNO showcasing once more why they should be considered as one of the world’s best. 

Nicky Spence as Peter Grimes - credit: Dafydd Owen 

See more opera at Mayflower Theatre