Lucia di Lammermoor by Barefoot Opera, Arcola Theatre

Donizetti’s Lucia di Lammermoor, a gothic tale of doomed love, betrayal and madness, is no easy opera to adapt for a modest venue like the Arcola. Yet Barefoot Opera has made a bold attempt, reworking this 19th-century melodrama for today’s audiences as part of the 2025 Grimeborn Festival. Directed by Rosie Kat, this version strips the opera of its period trappings, placing it in a modern setting that nods vaguely towards Scotland without fully grounding the action.

Instead of sweeping sets or elaborate costumes, we’re given a minimal raised platform and a loop of LED tubing, which becomes a recurring visual symbol of Lucia’s inner world. There’s a picnic, a dash of whisky, and some eccentric costuming, men in women’s hats and skirts, that at times feels symbolic, at others simply distracting. It’s not always clear whether the production is aiming for irony, critique or just visual flair.

The standout feature is the inventive musical arrangement. With no orchestra, the reduced ensemble, piano, accordion, double bass, saxophone and even a xylophone standing in for a glass harmonica, provides colour and tension with surprising success. Laurence Panter leads this band while also singing and playing multiple instruments, a feat that keeps the production musically agile, if not always emotionally deep.

Vocally, the production is on solid ground. Beren Fidan shines in the title role, capturing Lucia’s fragility with expressive physicality and vocal clarity, especially in the famous mad scene, which is given an eerie, almost spectral quality by the inventive score. Jack Dolan brings warmth and strength as Edgardo, particularly in his final aria, which lands with real emotional force despite the stripped-back setting. Philip Smith gives Enrico the venom he needs, though at times pushes the voice too hard.

What lets the production down is its struggle to strike a consistent tone. The tension between clownish physicality and dark tragedy never fully resolves. A whimsical wedding scene with silly hats clashes awkwardly with the seriousness of Lucia’s fate. Similarly, the absence of blood in a murder scene softens the horror that should jolt the audience.

Despite these mismatches, there’s no doubting the ambition and creativity on show. This Lucia doesn’t always hit the emotional highs it aims for, but it reimagines a grand opera with limited means and delivers enough vocal power and musical thoughtfulness to make it worth a watch

Image credit: Barefoot Opera