Tristan und Isolde at the Grimeborn Festival

Wagner’s Tristan und Isolde is no easy feat, an epic tale of forbidden love, spiritual yearning, and inevitable death, wrapped in some of the most complex music ever written. Grimeborn’s chamber production at the Arcola Theatre deserves praise for its ambition, offering a stripped-back version of this operatic heavyweight in a venue more used to fringe drama than grand opera. But while the concept is admirable and the cast committed, the result is uneven and occasionally underwhelming.

Director Guido Martin-Brandis keeps the narrative clear, leaning into the intimacy of the space. With a piano quintet in place of a full orchestra, Michael Thrift’s arrangement often works surprisingly well, highlighting the strange beauty of Wagner’s harmonies. There are points, however, where the sound feels too thin, moments of emotional climax don’t always land with the force they should. The off-stage horns and woodwind help here and there, but the reduced scale sometimes leaves the drama underpowered.

The production’s visuals are functional rather than inspiring. Caitlin Abbott’s foil-covered set draws attention for the wrong reasons, adding little beyond glare. Some props and costumes work, Isolde’s sea-green gown, the military touches in Tristan’s outfit, but the overall look feels cobbled together. That said, Davy Cunningham’s lighting provides moments of welcome mood and colour, particularly during Act II’s love duet.

The cast is committed, but not always vocally suited to the space. Brian Smith Walters as Tristan brings a powerful voice and expressive physicality, though his tone occasionally hardens at key moments. Becca Marriott (alternating with Elizabeth Findon) gives Isolde a smoky intensity and shows smart control of her vocal dynamics. Still, in such a small auditorium, some performances, particularly from Lauren Easton as Brangäne, felt too loud, creating imbalance rather than intimacy.

There are highlights: the charged moment when the love potion takes effect; the tenderness of Tristan’s final delirium; and the moving conclusion of the Liebestod. But the emotional arcs sometimes feel rushed, and the deeper philosophical weight of the opera isn’t always convincingly explored. The production touches on the sensuality and strangeness of Tristan, but doesn’t quite capture its tragic grandeur.

This is a brave attempt at a colossal work, but one that doesn’t always meet the scale of its ambition..

Image credit: Regents Opera Ltd