The Elixir of Love, Baseless Fabric Theatre at the Arcola

Baseless Fabric Theatre’s The Elixir of Love, presented at the Arcola Theatre, is a brisk, playful and socially tuned reworking of Donizetti’s classic comic opera. Running just an hour, it reimagines the original’s rustic charm for modern London, transporting us to a world of dating apps, bus routes, and TikTok references. This witty and compact adaptation delivers high energy, sharp direction and a handful of genuine comic and emotional highlights, though not without some unevenness.

Musically, the standout strength lies in the cast. Abigail Kelly’s Adina is a vibrant and vocally assured presence, her voice agile and warm, cutting through the space with ease. Jonathan Cooke’s Nemorino is a delight, endearing and comically vulnerable, his performance of Una furtiva lagrima reinterpreted not as a swoon for Adina, but a soulful hymn to his beloved buses. It’s an audacious and funny twist that works because of Cooke’s sincerity and vocal finesse. Jack Holton adds swagger as Belcore, complete with ironic charm and a hipster’s bravado, while Peter Edge’s Dulcamara is pure theatrical gold - a swaggering, sunglasses-wearing street trader with a hint of Del Boy, he sells “Love Effect” spray and cheekily tries to flog it to the audience. His comedic timing and strong bass voice combine to steal several scenes.

Leo Geyer’s musical arrangement is inventive and charmingly offbeat. The three-piece ensemble, bassoon, violin, and an impressively played accordion, provides colour and character, though on occasion, the vocalists slightly overwhelmed the texture. Nevertheless, the unusual instrumentation breathes life into the score and underscores the production’s originality.

Visually, the production embraces simplicity. Marina Hadjilouca’s set of multipurpose boxes feels intentionally minimal, offset by quirky props and functional costumes, including Nemorino’s summer anorak, all befitting the show's street theatre origins. Lighting, while generally subtle, suffers from some odd choices: the lit balcony remains unused throughout, and the placement of the orchestra centre-stage is a curious decision, occasionally drawing focus from the action. These directorial quirks don’t derail the production but suggest room for refinement.

The libretto, adapted and directed by Joanna Turner, is sharp and peppered with contemporary humour. Turner deftly updates the narrative, maintaining Donizetti’s frothy charm while anchoring it in a believable urban reality. Her direction captures the absurdities of modern romance and the loneliness behind the laughs. However, at times, the humour overshadows the opera’s emotional core, the lyrical poignancy risks being sacrificed for punchlines.

In terms of storytelling, The Elixir of Love succeeds in creating a coherent and enjoyable modern fable. Its complexity lies not in its staging, but in its clever layering of contemporary references over a classical framework. The production’s strongest moments, such as the aria to buses and Dulcamara’s fourth-wall-breaking antics, feel genuinely magical and unexpected.

Despite minor flaws, this is an inventive and accessible production that delivers charm, laughter and a few delightful surprises. It is not a once-in-a-lifetime operatic experience, but it does exemplify how opera can be refreshed for modern audiences without losing its soul.

Image credit: Baseless Fabric Theatre Ltd