The Railway Children review – Turnage reimagines the classic story into a lively family opera | Opera

e Nesbitt’s novel The Railway Children has enjoyed national treasure status since its publication in 1906. A prominent member and co-founder of the Fabian Society, the author has crafted a suspenseful story that is equal parts innocence and mystery, while subtly suggesting that the British establishment cannot always be trusted. Now, Mark Anthony Turnage and Rachel Hewer have turned it into an opera that, if not quite for children, will certainly appeal to a wide family audience. By moving the events to the 1980s, they have eliminated the musty clouds of nostalgia that hover around its pages.

Rachel Hewer’s straightforward script is hugely effective, although it does become disjointed towards the end (a chorus celebrating the color of paint that represents the national railway network sounds like it’s wandering in from another show). Mostly, however, it has a fast-paced John le Carré meets Famous Five vibe, nicely reflected in Stephen Langridge’s limber production. Nikki Shaw’s versatile set, meticulously lit by Mark Jonathan, uses an open-and-shut camera effect that moves the action from a government office to a station platform in the blink of an eye. Costumes range from Cold War outfits to baggy 80s outfits, and in case you haven’t gotten it yet, props include a Rubik’s Cube.

Turnage’s energetic score, wonderfully achieved by conductor Tim Anderson and the Glyndebourne Sinfonia, is full of kinetic effects (the composer cites Richard Rodney Bennett’s soundtrack for Murder on the Orient Express as an influence). The sounds of trains prove to be fertile ground, supporting scene changes and the doing of duty as a metaphor for overall emotional tension. Shifting strings, harp and flute color more intimate moments while excerpts from The Rite of Spring highlight the emergence of Tarpolsky, the Russian dissident. The averted incident in the tunnel, which was clearly recorded, is more convincing than it sounds.

The cast is strong all round, especially Jessica Cale, Matthew McKinney and Hina Moon who are completely believable as the three children. Through her smooth soprano, Cal conveys Bobbi’s awakening sense of responsibility as well as her growing teenage angst. McKinney is a fun, spunky Peter. Moon is cute as a button as Phyllis, who is convinced that the whole story is really about her.

Rachel Lloyd and Edward Hawkins share a strong bond as Kathy and David’s parents, and their joint activities as whistleblowers have more importance here than in the book. Gavan Ring plays the endearing Mr. Perks, James Cleverton brings authority to Mr. Tommy Crawshaw, and Bethany Horak-Hallett keeps us guessing as the devious Yolanda.

But the evening belongs to Turnage. Children of the Railway may not feel as effortless as his recent Festen adaptation, but it is a praiseworthy addition to the operatic canon nonetheless.