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The Challenge of Debussy's Elusive Opera Trying to unlock the secrets of Debussy’s opera Pelléas et Mélisande, based on Maeterlinck’s symbolist play, is a slippery task at the best of times. Doing so in a barely there staging, with the orchestra on the platform with the singers, is even trickier. For the opening performance of this summer’s Aldeburgh festival, that was the challenge that reunited the conductor Ryan Wigglesworth, a featured artist this year, with the actor and occasional opera director Rory Kinnear. The Semi-Staging Apart from some industrial-style pendant lights and a single high stool, there were no props or scenery – unless you count the orchestra, through which the characters stumbled as if the instrumentalists were the forest surrounding the castle. Costumes, likewise credited to Vicki Mortimer, were low-key: dark suits for the royal men, tattered bridal white for Mélisande, drab boiler suits for the silent onstage extras, who also provided the brief offstage chorus. The Power of Light What mattered, visually, was the light. Working with the lighting designers Paule Constable and Imogen Clarke, Kinnear took his cue from the stream of references to shadow and luminosity in the text. Characters moved through spots or pools of light on the platform, or walked in the gloaming of music-stand lights among the orchestra behind. The Performance Conducted by Wigglesworth, a featured artist in this summer’s festival, the BBC Scottish Symphony Orchestra often sounded glorious, especially in the interludes. Yet music that can sound ethereal when emanating, disembodied, from an orchestra pit here seemed solid, even earthy. This wasn’t a problem for the singers, whose voices came across with warm immediacy in the Snape acoustic, from Nicolas Testé’s cavernous Arkel through Sarah Connolly’s luxuriant-sounding Geneviève to Beth Stirling’s chirpy Yniold. The Verdict This intelligent semi-staging was gratifyingly ambitious in what it set out to achieve, and nearly succeeded – but Debussy’s opera remains ever elusive.

Play Launch and Creative Team The Guardian announced that playwright James Graham is premiering The Standard of Living at London’s Haymarket Theatre in September. The production is directed by veteran stage director Nicholas Hytner and features Rory Kinnear in the role of John Maynard Keynes. Graham describes the piece as the "great struggle of an outsider and a disruptor" who faced resistance throughout his career. Keynes’s Life Through the Lens of 1917‑1946 1917 – Keynes joins the Treasury, beginning his influence on British fiscal policy. 1925 – Marries Russian ballerina Lydia Lopokova, with Bloomsbury painter Duncan Grant as best man. 1930s – Develops the ideas that become The General Theory of Employment, Interest and Money, shaping modern macroeconomics. 1939‑1945 – Serves as a key architect of wartime economic strategy, balancing military spending with civilian welfare. 1946 – Passes away, leaving a legacy that bridges economics, politics, and the arts. The narrative weaves these milestones with the cultural ferment of the Bloomsbury Group, highlighting friendships with Virginia Woolf and Vanessa Bell. Economic Legacy Highlighted in the Production Graham underscores Keynes’s doctrine that governments should intervene during downturns, a principle that underpinned the post‑war British "golden age" where GDP per‑head grew at an average of 2.44% per year (1950‑1973). The play also references the influence on the U.S. New Deal and the enduring relevance of fiscal stimulus. Implications for Contemporary Economic Discourse By staging Keynes’s story now, the production invites audiences to reconsider the applicability of Keynesian policies amid today’s fiscal challenges—rising debt, inflationary pressures, and debates over public investment in the arts. Hytner notes that "the problems we’re currently facing seem so intractable that we appear to be paralysed," suggesting a renewed appetite for bold economic imagination. Future Prospects for the Play and Keynesian Thought If the September run garners critical acclaim, a West End transfer or international tour could cement the play as a cultural conduit for economic education. Moreover, the dramatization may spur renewed scholarly and public interest in Keynes’s writings, potentially influencing policy discussions ahead of upcoming fiscal reviews in the UK and beyond.

The Musical Review Bank of Dave: The Musical is a tremendously likable show. The source material is the feelgood true-life story of Dave Fishwick (Sam Lupton), the Burnley businessman whose egalitarian conscience led him to step in where others had failed. Seeing his fellow townsfolk being held back for want of money, he determined to set up a non-profit bank that would treat them with trust and respect. The Story Unfolds Presented as a David and Goliath battle between an impoverished former mill town and a self-serving banking sector, it is an underdog tale with a happy ending. Following the fictionalised outline of the 2023 Netflix film, starring Rory Kinnear, it has two big plus-points for a musical: a community that pulls together and a romantic subplot between a buttoned-up London lawyer (Lucca Chadwick-Patel) and a no-nonsense local doctor (a star performance by Lauryn Redding). The Performance Director Nikolai Foster fashions an ebullient, if a tad overheated show, forever erupting into big chorus numbers on Amy Jane Cook’s amorphous bar-room set with its backdrop of Lancashire chimneys and neat integration of Duncan McLean’s video designs. Pippa Cleary’s songs are bright and engaging, drawing on gospel, soul, hip-hop and Broadway golden age. The Verdict Like the film, the north-south divide is overegged – there is even an apology for the “southern saviour narrative” – and the honest-to-goodness characters flirt with cliche. Unlike the film, it comes clean about the story’s fabrications. Such honesty is consistent with a determinedly down-to-earth show that rails against inequality while championing the possibility of change. Show Details At Lowry, Salford, until 16 May then at Curve, Leicester, 20–30 May