Così Fan Tutte at the London Coliseum

Walking into the London Coliseum for Così Fan Tutte is akin to stepping through the ornate doors of a fairground funhouse. Under the ingenious direction of Phelim McDermott and the whimsical set by Tom Pye, Mozart’s 18^th-century comic masterpiece, about “the ultimate relationship test”, is reborn as a vibrant carnival set in 1950s Coney Island – a swoony world of pleasure gardens, rotary motel rooms and circus delights. From the moment the overture unfolds like the unveiling of a giant confection, the staging rekindles the magical spirit of childhood with gleeful theatrical excess. Bathed in the twinkling lights of Paule Constable, giant teacup rides spin lovers in dizzying circles; swan boats glide through tunnels of love, and towering motel walls rotate like cinematic frames. It’s a farcical Disneyland for lovers — flamboyant, beautifully paced, and a kaleidoscope of sights that never quite overshadows Mozart’s sparkling score.

Behind the glittering façade lies a surprisingly thoughtful reading of the opera’s problematic gender politics. The chorus of fairgoers, sword-swallowers, acrobats and candy-floss hawkers might seem like mere atmosphere at first, but their bemused presence subtly reframes the cruelty of Don Alfonso’s wager. In one sharp comic beat, the women of the crowd watch Guglielmo rant about “fickle girls” from behind a hamburger stall, bored and unimpressed – a sly, contemporary wink that skewers the opera’s macho posturing rather than endorsing it.

Vocally, this revival is richly rewarding. Lucy Crowe’s Fiordiligi is a standout: poised and passionate, she brings emotional weight and vocal agility to her big moments, particularly her Act Two aria sung from a Ferris wheel carriage. Ailish Tynan, as the chambermaid Despina, delivers comic precision, anchoring many of the production’s most playful moments. Joshua Blue (Ferrando) and Darwin Prakash (Guglielmo) are a remarkable duo, their warmth and lyricism beautifully balanced between tenor and baritone, while Andrew Foster-Williams embodies the wily Alfonso with effortless style. The Orchestra of English National Opera, under Dinis Sousa’s spirited baton, dances along with Mozart’s cheeky score.

What truly makes this English translation of Così sing (pun intended) is the way it invites both laughter and reflection. While it is undoubtedly a rollicking night of entertainment – ideal for first-timers and seasoned opera-lovers alike – it also embraces the deeper contradictions at the heart of Mozart and Da Ponte’s tale: the amusements of love, the cruelty of deception, and the curious alchemy that turns folly into insight.

Ultimately, this is a Così that feels contemporary without betraying Mozart’s bracing mixture of wit and humanity. Gracing the stage just in time for Valentine’s month, this adaptation will leave you grinning, thinking, possibly crying – and humming the overture all the way home.