An eccentric new folk horror opera has taken to the stage in Leeds, blending ancient folklore with contemporary musical theatre in a production that's as bizarre as it is brilliant. The Devil's Den, created by composer and writer Isabella Gellis, received its first full staging at the Howard Assembly Room, marking a significant moment for both Opera North and British contemporary opera.
A Modern Mystery Play with Ancient Roots
This hour-long production draws inspiration from the legends surrounding a genuine neolithic monument in Wiltshire. The story revolves around a dolmen stone structure where, according to local folklore, the devil desperately attempts to topple its capstone. Gellis's opera brings this myth to life with an unusual cast of characters including a talking rabbit who translates the devil's squeaks and grunts and a fire-breathing toad that may be summoned by a child running around the stones seven times.
Directed by Jack Furness with striking simplicity, the production features a set consisting of a circle of greensward and three large imitation rocks forming a dolmen. At its heart, the opera tells the story of a good child whom everyone mistakenly believes is bad, creating a powerful narrative about judgment and perception.
Morris Dancing Makes Operatic History
In what's believed to be an operatic first, Sheffield City Morris dancers feature prominently throughout the production. They fill the interludes between scenes like a hanky-waving Greek chorus, their bells and sticks adding another distinctive layer to Gellis's already complex musical composition.
The production features a 15-strong instrumental ensemble conducted by Finnegan Downie Dear, with musicians who not only play but also hum, whistle and warble as part of the performance. Gellis's score demonstrates a rewardingly agile, transparent quality that often incorporates witty elements, particularly when unseen characters communicate through solo instruments that rumble, tootle or squeak.
First-Rate Cast Brings Eccentric Characters to Life
The production boasts an exceptional cast that fully commits to the work's eccentric vision. Lotte Betts-Dean delivers a compelling performance as the ambiguous devil, communicating through squeals and beatboxing in an attempt to be understood. Nicholas Morris proves equally vivid as her sinister rabbit sidekick, while Ossian Huskinson brings booming authority to the role of the lavishly garlanded druid.
In what represents luxury casting, Jennifer France takes the role of the child, hitting even the highest notes with diamond-bright clarity. One of the production's most touching moments occurs when the audience, having been taught a song of condemnation by the druid, stops singing while the child continues trying to block them out with a song about a butterfly she made up earlier.
As Gellis's first full-length stage work, The Devil's Den could benefit from some tightening, with certain scenes feeling overly long. However, the production's unique blend of morris dancing, folk horror, and contemporary opera creates such a distinctive theatrical experience that it would be a shame if it didn't appear in other venues where morris dancers traditionally perform.
