The Galloping Cure opera review: Gritty magical realism
The horse-themed opera tackles the opioid crisis with confronting surrealism and a mesmerising set design
It’s a truism of life that when we’re in extreme, prolonged pain, we’ll do pretty much anything to make it stop. The opening phrase of this new opera cuts straight to the heart of that, as the occupants of a failing industrial town opine that their pain is dull in the morning, sharp by afternoon. Third generation doctor Theresa Hart attempts to help, but can do little more than hold their hand and empathise, for she too is crippled by migraines.
When carousel owner Lucky Mack arrives (the Sackler family and Purdue Pharma, key peddlers of highly addictive opioids in the US, are never mentioned but that’s who we’re dealing with here), offering them a go on his pain-relieving horses, everyone signs up. By swapping pills for fairground rides, Karen Russell’s imaginative story has a wonderfully surreal edge; we all know what the horses really represent, there’s no need to spell it out. Missy Mazzoli’s music whips along as if we were riding, too, while Royce Vavrek’s libretto and Tom Morris’ direction are heartfelt and highly accessible.
Quite why a flock of sheep and two family dogs (witty as they are), have been corralled into proceedings. working as a kind of Greek chorus but reducing gravitas, is hard to decipher. Equally, the initially poor relationship between Hart and her daughter reduces the emotional impact of later tragedy. But the excellent cast, and truly stunning set and lighting design by Rebecca Ringst and Lucy Carter respectively, make this a feast for the eyes.
Festival Theatre, 11 & 12 August, 7pm; picture: Antonia Bain