Pop-Up Opera presents one of Mozart’s lesser performed operas, Die Entführung aus dem Serail, in the unconventional setting of Robert Kime’s oriental antique store in Bloomsbury. It certainly makes for an intimate setting and immersive experience for the very small audience packed into either end of the shop.

Darren Royston’s concept is quite far from Mozart’s original. We are instead trapped in a Spa Hotel with a Big Brother-style overlord, instead of the spoken role of the Pasha, holding the characters captive. I think the company missed a trick by choosing to use a space clearly related to the world of Mozart’s opera and a contrasting setting that scenographically jars. Further to that, Royston’s vision is quite confusing and disappointing in its presentation. With the singing in the original German, the decision to use a monitor to present subtitles was made, and helped in following the drama. However, most of the remaining material shown on the monitors, which included social media references and attempted witty comments, was shoddy and ill-conceived. The whole artistic concept of the opera needed greater dramaturgical continuity: I left quite baffled as to the period and setting of the performance.

On the positive, there was some great singing to keep you entertained throughout. Pop-Up Opera has truly found a cast of talented singers of a high professional standard. Paul Hopwood, although not a very talented actor, presented a full and lyrically voiced Belmonte, vocally very well suited to the role. Eve Daniell brings real conviction to her performance in the role of Konstanze, a formidable voice. As Osmin, Marcin Gesla is the most comic and most enjoyable to watch of the cast as the disgruntled servant to the Pasha. In the supporting roles of Blonde and Pedrillo, Emily Phillips and Tom Morss have a good chemistry and bring a lot of fun to their characters.

I was very glad to see this piece performed, so rare it is because of its extremely demanding material, but I question the company’s decision to present it in this way. There were some amusing segments, including a boxing scene and a pantomime horse, but ultimately the whole execution lacked style and consistency. Musical director and pianist Berrak Dyer obviously has a very firm grasp on the work and played very sensitively, making the most out of her electric piano.

Some very accomplished singing saves this flawed production. Performed with some energy and fun from the performers, I would have expected much more from this experienced director and company.

Die Entführung aus dem Serail is on tour until 24 April. For more information and tickets, see the Pop-Up Opera website. Photo by Richard Lakos.