In late November I saw the world premiere of the contemporary opera Marnie at the London Coliseum. In addition to the dozen or so principals, I counted a chorus of 37 who appeared variously as office workers, funeral mourners and party guests. Plus 10 dancers who doubled as scene shifters, and four additional Marnie alter egos. That made an on-stage cast of over 60; add in the orchestra, the lighting engineers and the rest of the backstage crew, and it meant that well over 100 ...

Read More »