QUASIMODO
MARCH - APRIL 2013
The World Premiere of Lionel Bart's musical based on Victor Hugo's Notre Dame de Paris
The tragic tale of deformed outsider Quasimodo and the gypsy girl Esmeralda has been told many times, from the earliest silent cinema to a popular Disney cartoon. In the hands of Lionel Bart, it becomes a poignant protest against prejudice and corruption, with all the great tunes and direct emotional impact one would expect from the composer of Oliver!
Director: Robert Chevara
Musical Director: Peter Mitchell
Choreographer: Lee Proud
Set Designer: Christopher Hone
Costume Designer: Jonathan Lipman
Lighting Designer: Seth Rook Williams
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L'ELISIR D'AMORE
FEBRUARY - MARCH 2013
OperaUpClose presents Donizetti's classic comedy, in a new English version conceived by Valentina Ceschi with a libretto by Thomas Eccleshare, and a new orchestration by John Gibbons
Adina is the hottest star in Hollywood – and Nemorino adores her. When an ambitious army officer makes a very public proposal to Adina, Nemorino is in despair, until Dulcamara, the smooth-talking stylist, comes to his rescue with a remedy which he promises will win Adina once and for all.
Donizetti’s warm-hearted opera fizzes with wit, great tunes and a keen-eyed dissection of the way love can confound even the cleverest of us.
Director: Valentina Ceschi
Musical Director: John Gibbons
Set & Costume Designer: Kate Lane
Lighting Designer: Benjamin Polya
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TOSCA
OCTOBER - NOVEMBER 2012
Puccini's Tosca in a new English version by Adam Spreadbury-Maher and a new orchestration by Danyal Dhondy.
Tosca is sensual, powerful, and vulnerable. Living in the shadow of the Berlin wall, she is the toast of the GDR elite, until her lover Cavaradossi helps a political prisoner escape, putting Tosca at the mercy of Stasi chief Scarpia.
Director : Adam Spreadbury-Maher
Orchestration : Danyal Dhondy
Musical Director : Elspeth Wilkes
"OperaUpClose has the knack of cutting operas down to size without mislaying their passion....OperaUpClose productions simultaneously guy opera and fall under its spell. Its a difficult balancing act, but this Tosca pulls it off " EVENING STANDARD
"Another jewel in the crown of OperaUpClose " HAM & HIGH
THE LADY
"A small but effective band of piano , cello and clarinet brings just a touch of Weill cabaret to proceedings, appropriate given the context.....Only four singers actually appear in ( Adam Spreadbury-Maher's) cleverly compressed libretto"
Critics Choice
THE TIMES
"An enjoyable and ,at times gripping production...visceral stuff!"
TIME OUT
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VIEUX CARRÉ
JULY - AUGUST 2012
TRANSFERRED TO THE CHARING CROSS THEATRE FROM
15 AUGUST TO 1 SEPTEMBER 2012
The first London revival of Tennessee Williams' autobiographical play about an aspiring young writer.
Director: Robert Chevara
Designer: Nicolai Hart-Hansen
Costumes: Jonathan Lipman
Critics' Choice
The Independent Critics' ChoiceTime Out"this coming of age tragi-comedy is not without its share of painful insights or laugh-out loud charms. It's these qualities, along with the high level of the acting and a strong, unifying directorial hand that make Robert Chevara's flavoursome production worth seeing." 
The Times"an inspired interpretation of Tennessee Williams' autobiographical play... the tragedy, the fun and the ecstasy come ringing across - crystal clear." 
Ham & High "one of the hottest tickets on the fringe"
The Public Reviews "The single most enthralling piece of theatre I have ever seen"
West End Wilma _____________________________________________________________
DENIAL
MAY - JUNE 2012
The London premiere of Arnold Wesker's controversial false-memory play.
At what point does natural physical affection between parent and child become something more sinister? And if an adult suddenly 'remembers' that a loved parent abused them years earlier, can the memory be trusted?
Arnold Wesker's provocative drama exploring false-memory syndrome was first seen at the Bristol Old Vic in 2000 and now gets its London premiere. A taut and unsettling production about the dangerous recesses of the human mind and the devastating effect of 'recovered memories' on an apparently happy family.
Directed by Adam Spreadbury-Maher
Designed by takis
Lighting Design by Richard Williamson
"this tense, gripping revival... you can't help wondering why London audiences have had to wait so long to see it... Well-staged by Adam Spreadbury-Maher, with the audience seated on two sides of the action, they play tackles a serious issue with all the skill you would expect of a veteran dramatist"
The Guardian
“The disturbing nature of this drama is not simply a result of the cast's convincing performances however, but because Wesker based the narrative on real events… The cast successfully capture Wesker's purpose of writing; that is, in performing the unthinkable and the un-sayable his audience is forced to confront the darkest aspects of society.”
Whatsonstage.com
“This play is a Masterclass in writing engaging drama and holding an audience… It is a play for those who want to see a very real family put under extraordinary and challenging circumstances, which at times is distressing and painful – and as such it is a great piece of theatre.”
The Public Reviews
"This is a powerful play, which has been turned down as politically incorrect. But it exposes a truth which needs revealing."
Ham & High
“a clenched, guttural family drama… its London premiere is inexcusably late."
Time Out
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CARMEN
APRIL - MAY 2012
A new English version of Bizet's classic opera by Ben Cooper and Rodula Gaitanou.
Gangs and outcasts lead this version of Carmen's drama set in modern day north London. Carmen, an irresistable and bold young woman, becomes the fatal link between law-abiding society and the girtty underworld where she belongs. Featuring Carmen's famous Habanera in which she entices and enrages the men around her, and the Toreador song, Carmen revolutionised the world of opera with it's sensuous, dangerous heroine and candid depiction of criminality.
Directed by Rodula Gaitanou
Musical Direction by Elspeth Wilkes
Designed by Jamie Vartan and Joana Dias
Lighting Design by Simon Corder
"The performance is charged with rough-edged vitality... delivered with energy and panache." The Daily Telegraph
"an hour and a half of seething sexuality" Broadway Baby
"worked exceptionally well... constant excitement and passion throughout." A Younger Theatre
"OperaUpClose has once again succeeded in creating a winning remake of a classic opera." IndieLondon
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THE TRUTH-TELLER
APRIL - MAY 2012
The world premiere of a new comedy by David Crook, full of twists and turns that bristles with repartee and unexpected situations, and along the way sheds light on key questions about lying, the truth, and the difficult business of keeping a relationship on the rails.
Jonathan has a chronic lying problem. He can't utter a single true word. He can't even give the real version of his address when he tries to order a minicab. His compulsion wreaks havoc for himself and those around him. Finally his girlfriend offers him an ultimatum - it's either the lies or her - this sets him on a path that leads to a revolution in his relationship and his life.
Directed by Svetlana Dimcovic
Designed by Christian Taylor
Lighting Design by Michael Smith
"... it would be lying to deny The Truth-Teller offers a thoroughly entertaining evening." British Theatre Guide
"David Crook has written a very funny play exploring the world of truth and lies." Ham & High
"a genuinely funny piece with plenty of spark" Islington Gazette
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SOMEONE TO BLAME
MARCH 2012
(returned for 3 performances in June 2012 following Sam Hallam's
appeal and release from prison)
The world premiere of a new verbatim play by Tess Berry-Hart.
In 2004 Sam Hallam, aged 17, was tried and convicted of murder following an attack in Finsbury by a group of Hoxton youths. But there was no CCTV. No forensics. And Sam denies that he was even there.
With little education and no funds, he was at the mercy of the justice system. The evidence that put him in prison was so deeply flawed that in 2011 the Criminal Cases Review Commission referred Sam's case back to the Court of Appeal. The prosecution's evidence consisted of two unreliable witnesses; one retracted his accusation in court, and the other admitted that when she accused Sam she had just been looking for "somone to blame".
Directed by David Mercatali
Designed by Gregor Donnelly
Lighting Design by Richard Williamson
"A powerfully compelling and convincing verbatim piece." 
The Independent
"challenges, changes views and raises awareness... quick-paced and strong" 
Whatsonstage.com
"I defy you stay unmoved" 
The Public Reviews
"a splendid ensemble cast... play their roles exceptionally well and with total conviction." 
Ham & High
"I did not know much about Sam Hallam's case before watching Someon To Blame but I came out inspired and determined to learn more. Somone To Blame is extremely powerful and thought-provoking and the cast do a fantastic job of taking verbatim statements and transforming them into dramatic speeches that portray character and emotion. I was on the edge of my seat the whole time desperate to find out what happened next. I highly recommend this emotive and passionate play." Brooke Kinsella MBE, anti-knife crime campaigner
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THE MIKADO
IN REPERTORY - UNTIL NOVEMBER 2011
RETURNED FOR A LIMITED RUN FEBRUARY - MARCH 2012
Charles Court Opera, the 'masters of Gilbert & Sullivan in small spaces' (Camden New Journal) give this all-time favourite a fresh and ambitious re-working, sung by an ensemble of nine singers, with the orchestral score re-arranged and performed by the widely-acclaimed Eaton-Young Piano Duo. This dynamic revival promised to capture the imaginations of G&S virgins and enthusiasts alike.Directed by John Savournin
Musical Direction by David Eaton
Designed by Gregor Donnelly
Lighting Design by Nic Holdridge"Such is the energy of the cast, and their attention to both text and music in John Savournin's staging, that the piece comes over with almost reckless gusto." 
THE GUARDIAN"Insistently fresh... exquisite." 
EVENING STANDARD
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LA FANCIULLA DEL WEST (OR WEST END GIRL)
JANUARY - MARCH 2012
A new English version of Puccini's classic opera by Robert Chevara and Kfir Yefet
Minnie runs a dilapidated Soho internet cafe, populated by East European immigrants and targeted by the Albanian underworld. Trusting and innocent, Minnie falls for gang leader 'Vik' Johnson, who is intent on stealing from the villains in her cafe. When his rivals catch up with him, Minnie is forced to play a hand of poker for his life.
Directed by Robert Chevara
Musical direction by John Gibbons
Set design by Nicolai Hart Hansen
Costume design by Jonathan Lipman
Lighting design by Andrew May
'The cast were brilliant... the show had the audience standing at the end and no wonder.' 
The Public Reviews
'Bold and bizarre as ever... a charming show' - Evening Standard
'The direction is tight, the language demonic, the designs witty, the acting strong.' - Independent on Sunday
'Robert Chevara and Kfir Yefet's adaptation is, in the end, just as lovable as Puccini's... Laura Parfitt's terrific Minnie, blazing with conviction and winningly tender.' - The Times
'The overall experience is marvellously uplifting... will melt even the stoniest of hearts' - The Stage
'gritty, fresh and extremely colourful... an outstanding new opera' - Britishtheatreguide
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LA BOHÈME
IN REPERTORY - UNTIL AUGUST 2011
RETURNED FOR LIMITED RUN DECEMBER 2011
Sunday Express, 
Daily Express
Critics' Choice: The Times, Sunday Times, Daily Telegraph, Independent on Sunday
"Madly brilliant... an updated, zingy translation... a fresh rediscovery." The Times
"This is Puccini without a safety net and it works." Evening Standard
"Opera with the gloves off." Whatsonstage.com
"As pub theatre this is surely the best ever." Daily Express
"Has audiences mesmerised... a huge artistic success." New York Times
WATCH TRAILER
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CONSTANCE
SEPTEMBER - NOVEMBER 2011
The world premiere of an unpublished Oscar Wilde play.
William Daventry, a rich industrialist and self-made man, is married to Constances, the perfect wife: loyal, faithful, and with excellent family credentials. At the Daventry's country house, various members of Constance's extended family, a zealous man of the cloth and his flirtatious wife are assembled for an evening of entertainment - such as is affordable only by the middle classes, a fact deplored by the Duchess of Sandgate and her companion, Sir Richard. An incident between the Reverend's wife abd the industrialist sets in motion a train of events that risk upsetting the moral code of this aristocratic family, driving them from Twickenham to London, to the Tyrolean Alps.
Directed by Mark Urquhart
Set Design by Tessa Battisti
Costume Design by Laura Cordery and Bettina John
Lighting Design by Benjamin Polya
"We know that wilde invented the story... once or twice we do think of Wilde's private pain... Ellie Beaven plays the ingenue Constance sweetly" - The Times
"It works, satirising attitudes and mores that still bubble below the surface today... Who knows what Oscar would have made of it all - but the audience's laughter and applause showed their appreciation of an evening full of the kind of wit and repartee that the playbill promised." - Broadway World
“A perfectly entertaining evening... oiled by the frequent amusing observations of Lady Christina... the influence of the playwright [Wilde] is obvious.” - Whatsonstage.com
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MANIFEST DESTINY
IN REPERTORY - UNTIL OCTOBER 2011
A brand new opera which questions America’s culpability in the 9/11 terrorist attacks.
Taking the traditional Romeo and Juliet tragic love story and setting it in contemporary war
torn Arabia, this moving and shocking opera re-evaluates the enduring belief that love
conquers all.
Two young lovers battle with their beliefs and their destiny. Leila, a young poet, determined
to continue the work of her murdered father, fights for justice and truth by joining a suicide
bombing cell. Her lover Daniel fights to save her life and the lives of the innocent people
affected by the bombings.
Composed by Keith Burstein
Libretto by Dic Edwards
Directed by Valentina Ceschi
Designed by Kate Lane
Lighting Design by Benjamin Polya
WATCH TRAILER
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THE TURN OF THE SCREW
IN REPERTORY - CLOSED 8 SEPTEMBER 2011
A young Governess becomes convinced that the angelic children in her care are possessed by ghosts. Isolated and naïve, yet determined to save her wards, she finds her grip on reality slipping, with tragic consequences.
Directed by Edward Dick
Musical Direction by David Eaton
Offie-nominated Lighting Design by Richard Howell
Design by Signe Beckmann and video projection by Richard Bleasdale.
Critic's Choice - "Britten's haunting masterpiece's small-scale orchestration and obsession with the unseen fits OperaUpClose like a glove." Time Out
"A tightly-controlled and brilliantly thought-through concept that allows us to see and hear a great work in a totally new light... Dick’s modern dress interpretation serves up new ideas right to the end while ratcheting up the tension to an almost unbearable degree...."- Whatsonstage
'Much in this modern-dress production works well... [Katie] Bird impresses both with her dramatic commitment and her highly strung soprano... Catrine Kirkman's glamorous, sophisticated Miss Jessel['s]... scene with her fellow-ghost – David Menezes's dangerously seductive Quint – is superbly realised... The two children... are remarkable' - The Guardian
'Edward Dick's lean, spare production of Britten's The Turn of the Screw sees OperaUpClose shed its shambolic charm for something sharper. The tiny stage of the King's Head, in Islington, is cocooned in white gauze by designer Signe Beckmann, a bare space for the treatment of Katie Bird's disturbed governess, still haunted by the ghosts of Bly House… Laura Casey's spaced-out Mrs Grose is chillingly childlike, while the children – Eleanor Burke and Samuel Woof – ape a warped adulthood in their brittle sophistication, boundless fury and dreadful sadness... Take a seat at the back and shiver.' - Independent on Sunday
'A sleek and impressively sung rendition of a challenging opera... Katie Bird is vocally stunning as the Governess... Musical director David Eaton is not so much an accompanist as he is a one-man orchestra, playing with exceptional flair and passion.' - Exeunt
'Signe Beckmann's elegantly plain white space is transformed by Richard Bleasdale's video projections into fields, marshes and lakes, without ever losing the eerieness of a haunted house and, under Edward Dick's claustrophobic direction, the confinement of a prison cell... Intense and moving, at times almost ovewhelming... quite unlike anything else you will find in London or beyond.' - Broadwayworld.com
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THE CORONATION OF POPPEA
IN REPERTORY - UNTIL AUGUST 2011
One of the earliest operas ever written was performed at the youngest opera house in London. Monteverdi's tale of the triumphant adultery between Poppea and Roman Emperor Nero gets a radical treatment in Mark Ravenhill's and Alex Silverman's new version, with a new jazz-inspired orchestration, and a world-class cast of singers. Directed by OperaUpClose Associate Director Mark Ravenhill, who makes his directorial debut with the company. Featuring a new aria written by Michael Nyman.
"Different tones abound in a production of mongrel vigour." 
EVENING STANDARD
"Ravenhill strips the story to its core themes: lust, greed and the ruthless pursuit of power." 
FINANCIAL TIMES
"Rebecca Caine’s scorned wife Ottavia pulled at the heart-strings... There’s a quirkiness to this opera/jazz hybrid, backed by some seriously first-rate singing, that is invigorating, entertaining but above all accessible." 
THE PUBLIC REVIEWS
"A marvellous, watchable and engaging production, even greater than the sum of its parts." 
FRINGE REVIEW
"[Zoe] Bonner’s refined artistry is matched by that of Rebecca Caine as Ottavia, Jessica Walker as Nero, and Martin Nelson, whose resonant voice and presence...casts a circumambient glow. " THE INDEPENDENT
"Proves perfectly apt for the pub-theatre context... there's a degree of truthful intimacy that registers as both natural and immediate." THE GUARDIAN
"The cult opera of the year." WEST END EXTRA
"Despite its fidelity to Monteverdi's 369-years-old original work, this is a production as contemporary as anything." Broadwayworld.com
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THE BARBER OF SEVILLE (OR SALISBURY)
IN REPERTORY - UNTIL JULY 2011
THE BARBER OF SEVILLE (OR SALISBURY) has been transported to Jane Austen’s England, a world of rich, eligible bachelors, feisty heroines and snobbish relations familiar from much-loved BBC costume dramas. Obsequious Doctor Bartleby has designs on his ward Rosina, but she is far more interested in the attentions of a handsome stranger (actually a womanising Count in disguise). The whole affair is stage-managed by Figaro, the barber who knows everyone’s business and can fix your hair and love life with ease.
"Plucky and purposeful... a farcical romp." THE GUARDIAN
"Norton-Hale's translation skids between centuries, raising a metaphorical little finger one moment, and its middle finger the next... Cosy, goofy fun." THE INDEPENDENT
"Norton-Hale’s staging is excellently judged with a priceless sense for the ridiculous. The opera’s finale is tightly directed and fizzes with a tangible energy... Uproariously funny, thanks partly to Norton-Hale’s irreverent new libretto." 
THE PUBLIC REVIEWS
"Witty and fluent." Whatsonstage.com
"Fun, fun, fun... you're guaranteed a good time." BROADWAYWORLD.COM
WATCH TRAILER
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PAGLIACCI
IN REPERTORY - UNTIL MAY 2011
Clowns, musicians and dancers are on tour in provincial Europe. Offstage one of the actors suspects his wife of cheating. Onstage he enacts his vengeance. Ruggiero Leoncavallo's opera PAGLIACCI is a dark grotesque tale where the players' personal lives spill onto the stage in this gritty tale of jealousy and murder. In this brand new OperaUpClose production, illusions of romance are stripped away to reveal the brutal, seedy reality of human nature.
Directed by Anna Gregory
Musical Direction by Kelvin Lim
Designed by Buffy Sharpe
"Anna Gregory's punchy modern-dress staging is the company's best production to date." THE INDEPENDENT
"Tremendous, as intense and compelling as any account of this piece I have seen... The accompaniment for clarinet, viola and piano is brilliantly done and executed." SPECTATOR
"A more vivid and immediate version would be hard to imagine than Anna Gregory’s blood-and-thunder production." OPERA NOW
"Much to be praised was Danyal Dhondy's 'orchestration' of the work for piano, cello and clarinet – a nicely coloured combination." THE GUARDIAN
"the King's Head pub theatre in Islington presents its best show yet with Anna Gregory's rough-edged, stripped-naked production." TELEGRAPH
"Director Anna Gregory's production is a joy to behold... an intensity of emotion that is almost palpable.” BRITISH THEATRE GUIDE
"The audience were transported to another plane emotionally, so that they could easily have been at the Royal Opera House instead of a North London pub." EXTRA! EXTRA!
"A witty and emotive interpretation of Leoncavallo’s opera." THE PUBLIC REVIEWS
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HMS PINAFORE
IN REPERTORY - UNTIL MAY 2011
Charles Court Opera has been described as the most diverse and fearless small-scale opera company in the UK. They are considered the "masters of G&S in small spaces" (Camden New Journal)and are one of the leading exponents of Gilbert and Sullivan. With a cast of 9 excellent young singers, accompanied by the Eaton-Young Piano Duo, ("Astounding" The Times) this fresh realisation presents comic opera at it's best. Batten down the hatches for this exquisite satire on class and naval incompetence.
Directed by John Savournin
Musical Direction by David Eaton
"Nicely judged and wickedly funny" The Guardian 
"Gilbert and Sullivan virgins and life-long Savoy Opera devotees alike can enjoy this breezy, extremely well-sung staging." Time Out 
"The acting is near faultless" The Stage
"Young, fresh and special" Evening Standard
"This is operetta in a shoe-box - and it's absolutely fantastic!" The Londonist
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MADAM BUTTERFLY (OR BANGKOK BUTTERFLY)
IN REPERTORY - UNTIL APRIL 2011
MADAM BUTTERFLY is transplanted to present-day Bangkok for this radical reinterpretation of Puccini's masterpiece. This brand-new English translation portrays Pinkerton as an American Airlines pilot and Butterfly as a Thai prostitute. The orchestral score has been delicately arranged for our intimate space with piano, violin and clarinet. Directed by OperaUpClose Artistic Director Adam Spreadbury-Maher, making his opera directing debut for the company.
New English version by Adam Spreadbury-Maher and Ben Cooper
Directed by Adam Spreadbury-Maher
Musical Direction by Elspeth Wilkes
"If all the shows are as effecting as Spreadbury-Maher's direction of this Puccini classic opera-going may never be the same again." ATTITUDE
"Madam Butterfly (or Bangkok Butterfly) goes a step further in chiselling a contemporary edge." THE STAGE
"The evening was a powerful one... [Butterfly] is beautiful and sexy." SPECTATOR
"Up close opera is promised and that's what you get in every sense... viscerally moving, an operatic punch to solar plexus." BROADWAY WORLD
"The story moving and the music beautiful." THE PUBLIC REVIEWS
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CINDERELLA
IN REPERTORY - UNTIL FEBRUARY 2011
The classic fairytale is given a fresh, modern twist in this witty new production. Prince Ramiro falls for Angelina, the one girl who is unimpressed by his wealth and glamour, despite the attempts of her nouveau-riche sisters to turn his head.
Musical director Andrew Macmillan leads a thrilling young cast including Rowan Hellier (fresh from her success as Rosina in OperaUpClose’s The Barber of Seville) as Cinderella, with Christopher Diffey (Rodolfo in OperaUpClose’s La Bohème) and Lawrence Olsworth Peter as Ramiro.
Composed by Rossini
New English version by Tony Britain
Directed by Emma Rivlin
Musical Direction by Andrew Macmillan
"Fizzes and bubbles with rough brilliance" INDEPENDENT ON SUNDAY
"Cinderella has been given a slick translation by Tony Britten stuffed with references to Waitrose, Ann Summers and Kate Middleton... Sylvie Bedouelle sang the title-role with sweet sincerity, and Tom Bullard and Christopher Diffey did a spirited, personable double act as Dandini and Ramiro." TELEGRAPH
"This production is fresh, funny and very approachable... Brilliantly supported by the design, the delightfully vulgar sisters, played Sian Cameron and Emily Ward, are decked out in garish colours with a matching hat for every dress they grace the stage with... This is Cinderella with verve, humour and zest. Especially good performances also from Tom Bullard as Dandini and Sylvie Bedouelle as Cinderella." 
REMOTE GOAT
"Director Emma Rivlin makes the most of the space... the charm and energy of the young cast take over... Tom Bullard as Dandini has a pleasing baritone and an excellent sense of comic timing. Emily Ward and Sian Cameron are a glorious pair of bitchy stepsisters." EXPRESS.CO.UK
HOME
"A combination of excellent acting, determined sensuality and some extremely talented singing in what is a boldly reset production"
The Times, 
The Guardian, 
Evening Standard, 
Metro,