The Devil Inside, Peacock Theatre, review: An ambitious but misguided opera
My heart goes out to the heroic cast and the brilliant ensemble, who deserve an infinitely better vehicle for their talents
Robert Louis Stevenson’s The Bottle Imp is a Faust-story about a magic bottle whose malevolent spirit will grant its owner all their desires, but at a price – their soul will be forever damned if they still own it when they die. Composer Stuart MacRae and librettist Louise Welsh have renamed it The Devil Inside, and re-set it in the world of twenty-first century property development; they’ve given the moral dilemma running through it an entirely modern twist. After its Glasgow premiere, this work’s co-production between Scottish Opera and Music Theatre Wales is now on national tour.
I scented danger as soon as three of the four protagonists first came on song: the orchestral accompaniment was exquisitely intricate, but the throbbing vocal lines – sub-Britten at his most climactically intense - were attached to dialogue which could have come straight out of the Archers. And so it went on, for nearly two hours. I couldn’t believe a word of it, and that killer-question for any opera – why are they singing these words, rather than just speaking them? – simply refused to go away. My heart goes out to the heroic cast and the brilliant ensemble in the pit, who deserve an infinitely better vehicle for their talents.
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