Così Fan Tutte review – witty circus staging has its tongue firmly in its cheek

2026-02-08 - 15:35

London Coliseum Phelim McDermott’s 2014 production addresses the cynicism, cruelty and outdated sexual politics of Mozart’s opera with humour and sass; a strong cast make this an enjoyable evening Not so long ago, Così Fan Tutte seemed full of pitfalls. On the surface Mozart and Da Ponte’s opera is full of cynicism, cruelty and outdated sexual politics: if a production skates over these, isn’t that a cop-out? Now, though – and this week in particular – you could argue that Phelim McDermott’s 2014 ENO staging lands as something of a relief, serving up those issues with a witty garnish and presenting them as sheer entertainment. The overture sets up what’s to come: in front of a lamé curtain, 12 circus performers unfold themselves one by one from a trunk, carrying placards promising Lust! Intrigue! Big Arias! This staging has its tongue firmly in its cheek from the start. The setting is Coney Island in the 1950s: Act 1 is Happy Days meets motel farce, thanks to the nimbly rotating walls of Tom Pye’s set, with Guglielmo and Ferrando channelling the Fonz in their disguises. Continue reading...