Opera North’s production THE FLYING DUTCHMAN. Photo Credit: James Glossop
In this adaptation, Opera North reimagines Wagner’s renowned opera, The Flying Dutchman, in a modern context. Daland (plated by Clive Bayley), the Home Secretary, is startled to find the melancholy Dutchman (played by Richard Hayward) seeking refuge in his office. Perhaps even more startling are the riches that he offers in return for a place to stay and his daughter’s hand in marriage. Interspersed with the voices and experiences of refugees, this adaptation draws comparisons between the eternally cursed Dutchman’s longing for a home that he cannot return to, and the plight of refugees escaping from theirs.
Opera North’s production THE FLYING DUTCHMAN. Photo Credit: James Glossop
Robert Hayward astounds as the Dutchman, with his powerful vocals and the way in which he fully embodies the Dutchman’s torture. His performance is emotive and haunting, as he contorts himself with pain and anguish. His vocals blend seamlessly with those of Layla Claire in the role of Senta, Daland’s daughter and the key to the Dutchman’s redemption. Claire’s performance as Senta is striking, the control of her soprano both transformative and moving. She brings a new kind of agency to Senta, whose fate is nonetheless already sealed by the time she takes to the stage. Claire lends Senta not only a spectacular voice, but a strength and command uncharacteristic of such a role.
An honourable mention has to be given to Clive Bayley for his role of Daland. His performance is masterful and a joy to watch that speaks to his experience. He is expressive and playful in his movements, but nonetheless compelling in his vocals.
The chorus create a rousing and eerie harmony that is threaded throughout the piece and bring an intensity that is second to none. However, it is conductor, Garry Walker, and his orchestra that underpin the entire piece and bring to life Wagner’s timeless story. Their performances were every bit as dramatic, fervent, and moving as those on stage, and even without the stunning visual effects designed by Joanne Parker, already call to mind the stateless sea and the unrelenting waves.
Opera North’s production THE FLYING DUTCHMAN. Photo Credit: James Glossop
Unfortunately, it is the statelessness of the piece that lets it down. The links created to refugees and those seeking asylum were tenuous at best and left largely unexplored. Feeling more like a bookend than a theme running throughout, the links were strong to begin with but then felt largely forgotten as the piece progressed, with a minor reference added in at the endthat confuses the ending and makes it unclear.
Due to the music being performed as it was written, any references to refugees had to be largely portrayed through video imagery, props, and costumes, which unfortunately was just not strong enough. The music and lyrics call to mind the original story, which feels disjointed with what is happening onstage, and leaves much of the physical space unclear as there are no boats to be seen and yet much of Wagner’s tale takes place at sea, leaving the physical space uncertain and unstable. That being said, what Joanna Parker has done with the physical space as set designer is remarkable. The set is minimal yet striking in its simplicity, and calls to mind the sails of a ship as much as it does the bureaucracy of the Home Office.
Overall, Opera North’s the Flying Dutchman was transformative and powerful in its performances, if not in its message. The central theme of redemption through love still pushes through and overpowers any modern-day comparisons, but the work that Opera North has done to tell the story of refugees and make opera accessible cannot be forgotten. And while this adaptation may not have proved as effective as hoped, the talent of the cast and creatives is undeniable, as is their commitment to bringing opera to the North of England and giving a voice to the voiceless.
OPERA NORTH – THE FLYING DUTCHMAN ran at The Lowry, Salford, on 15 March 2025.
Megan Hyland is a full-time domestic abuse charity worker; part-time entertainment reviewer; and professional over-achiever. Currently one of ten writers chosen for Northern Broadsides’ Young Writers Forge, you can read more of her review writing at UpstagedManchester, The Custard TV and her blog The Manchester Maverick.
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