ENO Opera Works Class of 13/14

Opera Works is led by Martin Constantine, the course director, and Jane Robinson, the vocal director. Over the course, the singers will take part in various performances and events. The course culminates in a performance to ENO staff, friends, family and industry professionals, where the singers have the opportunity to put into practice everything they have learned in the year.

Let’s meet some of this year’s singers and see what they’re looking forward to about Opera Works as well as some of their favourite operas and arias!

William Morgan, Tenor

My Favourite opera is Pelléas et Mélisande - without a shadow of a doubt. I hope that Opera Works is as demanding as possible - I am here to be challenged!

Vivien Conacher, Mezzo-Soprano

I’m really looking forward to meeting all the singers, as well as working with some amazing industry professionals throughout the course. If I had to pick my dream opera role, I would say Octavian.

Laura Cheetham, Soprano

I plan to savour every opportunity and experience from my time with ENO. My favourite aria is ‘Un bel di vedremo’ from Madam Butterfly.

Pablo Strong, Tenor

My dream opera role is Nemorino. Opera Works is a chance to broaden my knowledge to incorporate more dramatic considerations, as well as musical.

Lucy Roberts, Soprano

My favourite opera is Humperdinck Hansel and Gretel for a fun evening at the opera, or Debussy Pelléas et Mélisande if I’m feeling more serious. I’m delighted to be on a course which is solely focused towards opera - my favourite art form, and dream job!

Clare Kavanagh, Soprano

My favourite opera has to be Carmen. The music is so fantastic and energetic. I love it! To have been given the opportunity to work with ENO and the other singers on the course is really exciting.

Natasha Best, Mezzo-Soprano/Soprano

My favourite aria is ‘Must the Winter Come So Soon?’ from Vanessa by Samuel Barber. And my dream role would beIsolde from Wagner’s Tristan and Isolde!

Jan Capinski, Baritone

I’d love to play Don Giovanni. I’ve spend more years in music college than I care to admit, so Opera Works for me is the natural extension of my education as a singer.

Sarah Baillie, Mezzo-Soprano

I love Michaela’s Aria from Carmen, although to sing, my favourite aria is probably ‘Ah fuggi il traditor’ from Don Giovanni. To me, Opera Works means getting a better understanding of exactly what it is to be a professional singer.

Danny Standing, Baritone

I’m looking forward to being in a training programme which is designed by a professional company, and a company which knows first hand what it expects from its performers. In the future I would like to play The Kaiser from The Kaiser of Atlantis.

Anna Jeffers, Mezzo-Soprano

My dream opera role would be Isabella or Rosina - something with lots of notes in it! I am hoping to concentrate specifically on discovering and learning new suitable repertoire for auditions and also to work on my ability as an actress.

Catharine Rogers, Soprano

My favourite aria is ‘Ah, Mio Cor’from Alcina. Opera Works means an opportunity to spend time making music in one of the most exciting opera houses in the world

Hanna-Liisa Kirchin, Mezzo-Soprano

Charlotte in Werther would be my dream role, I am so excited to be able to move to London in the knowledge that I will be receiving such excellent training and support, and I am thrilled to be able to give all I can in order to gain as much as I can from Opera Works.

Eleanor Ross, Soprano

I’m looking forward tothe chance to make industry contacts, improve my stagecraft, work with people at the highest professional level, learn new things about my singing, make new friends and become a better overall performer.

Other artists taking part in this year’s Opera Works are:

Rachael Brimley soprano

Gabriella Cassidy soprano

Matthew Durkan baritone

Rosanne Havel soprano

Monica McGhee soprano

Lila Palmer mezzo-soprano

You can follow the students’ progress over on the dedicated Opera Works blog. You can find out more, including how to register your interest in the 14/15 course, over on our website.

Richard Angas, 1942-2013

It was with deep sorrow that we learned of the death of Richard Angas yesterday. Richard was a man of great stature in every sense of the word: his imposing height, his magnificent voice and his warmth and strength of character. 

Richard will be remembered for his many outstanding vocal and dramatic performances. Richard’s first performance with the company was Ramphis in Aida in 1980. He will perhaps be most fondly remembered for originating the role of The Mikado in Jonathan Miller’s iconic production, giving over 150 performances in the role between 1986 and 2012. He is a part of our company history.

The opera world has lost a great talent and we have lost a loved and respected colleague and friend. Our thoughts are with his loved ones.

Richard Angas in 2012 production of The Mikado (c) ENO/Sarah Lee

Here’s a film from 1987, taken behind-the-scenes during the rehearsals for The Mikado, featuring Richard Angas as he creates the title role in Jonathan Miller’s iconic production. 

Happy Birthday Dame Janet Baker!

Happy Birthday to Dame Janet Baker, 80 today! Here’s a clip of Dame Janet from ENO’s production of Julius Caesar, recorded in 1984.

Welcome to the class of 13/14

In 1988 ENO launched the Harewood Artist programme, designed to enable talented, UK-trained, singers at an early stage in their careers to be part of a major opera company, whilst continuing their training. ENO trains up to 12 young artists each season in every aspect of being a professional opera singer whilst giving them the opportunity to perform small, medium and even lead roles with ENO.

Let’s meet the Harewood Artists of 2013/14:



Sister of the ENO favourite Sophie Bevan and part of the musical dynasty of the Bevan family, Mary is already making a name for herself as an extraordinarily talented, young soprano. Mary studied at the Royal Academy Opera and made her ENO debut as Rebecca in the World Premier of Nico Muhly’s Two Boys in 2010. Since then, Mary has gone on to sing the roles of Barbarina in Fiona Shaw’s The Marriage of Figaro and Yum Yum in Jonathan Miller’s iconic production of The Mikado.

This season you’ll be able to see Mary as Papagena in, Simon McBurney’s The Magic Flute and as Second Niece in David Alden’s Peter Grimes. Mary will also be making her Royal Opera House début as Barabrina in Le nozze di Figaro.



Katherine trained at the National Opera Studio London and was the 2008 winner of the prestigious Kathleen Ferrier Award. Katherine was nominated for this year’s Cardiff Singer of the World along with fellow Harewood Artist Ben Johnson. Katherine’s recent roles include Ortlinde in Die Walküre for The Royal Opera House, Woglinde in Götterdämmerung for Opera North, whilst her recent roles at ENO have included Donna Anna in Rufus Norris’s Don Giovanni and Berta in Jonathan Miller’s The Barber of Seville.



New to the Harewood artist programme this year, Scottish Soprano Eleanor Dennis has recently graduated from the Royal College of Music; she made her professional début with ENO in 2012 in a new production of Vaughan Williams’ The Pilgrim’s Progress.

This season Eleanor will be back at ENO to sing the First Lady in Simon McBurney’s new production of The Magic Flute. Eleanor will also make her role début at Scottish Opera as Liù in Turandot for Scottish Opera.



Another new face to this year’s Harewood Artists programme is Anthony Gregory. Hereford-born tenor Anthony was the 2010 Independent Opera Vocal Scholar at the Royal College of Music International Opera School. In 2011 Anthony won the prestigious Lies Askonas Prize at the RCM. Last summer, Anthony sang the role of Edward Milfort in Rosini Il cambiale matrimonio for Aix-en-Provence Festival Acadèmie, which was performed at the main festival and on tour through France and Europe.

Anthony made his ENO début as the Young Sailor in the new production of Julietta. This season you can catch Anthony in Simon McBurney’s new production of The Magic Flute.



ENO regular Ben Johnson has had a very successful year representing England in BBC Cardiff Singer of the World 2013, winning this year’s Audience Prize. Ben studied at The Royal College Music. He won the Kathleen Ferrier Award in 2008 and was a BBC Radio 3 New Generation Artist from 2010-2012. As well as being an ENO Harewood Artist he is also a Wigmore Hall Emerging Talent.

Ben’s recent engagements at ENO have included Nemorino in Jonathan Miller’s The Elixir of Love, Don Ottavio in Rufus Norris’s Don Giovanni and Alfredo in Peter Konvitchney’s production of La traviata.

Ben will sing Tamino in Simon McBurney’s The Magic Flute next season  at ENO and Don Ottavio at Glyndebourne.



Welsh Soprano Rhian studied at the National Opera Studio in London. Rhian became one of the first recipients of a career development award from the Bryn Terfel Foundation. Whilst still studying Rhian made her performance debut with ENO as Ivette in Weinberg’s The Passenger, since then she has performed at ENO a number of times. Her roles include Frasquita in Calixto Bieito’s Carmen, Papagena in The Magic Flute and Nerine in Medea.

In 2013/14 you will be able to see Rhian as Adele in Christopher Alden’s Die Fledermaus and as First Niece in David Alden’s Peter Grimes. In 2015 Rhian will be making her Royal Opera House début.



Barnaby Rea graduated from the Guildhall School of Music and Drama where he studied on the highly acclaimed opera course under the guidance of John Evans.  He was generously supported by the Countess of Munster Musical, the Musicians Benevolent Fund, the Wingate Foundation, the Hope Chest, Serena Fenwick, Towergate and the Worshipful Company of Gold & Silver Wyre Drawers.  He has recently completed further studies at the National Opera Studio where he was supported by Scottish Opera and a Sybil Tutton Award administered by the Musicians Benevolent Fund.  




A graduate of the Guildhall and National Opera Studio, Duncan won the prestigious Chilcott Award last year and was named as ‘One to Watch in 2013’ by Time Out Magazine. Duncan is fast establishing himself as an outstanding young singer, his recent roles at ENO have included Papageno in The Magic Flute and the role of Schaunard in Jonathan Miller’s La bohème.

Duncan’s up-coming roles include Tarquinius in Fiona Shaw’s new production of The Rape of Lucretia for Glyndebourne and his role début as Marcello La bohème for Opera North.  



He’s been described as having a voice of real distinction and as one of our finest young singers, but this season Nicky is about to go global. Nicky made his ENO début as Brian in The World Premier of Nico Muhly’s Two Boys and went on to sing the role of Novice in David Alden’s Billy Budd.

This season Nicky will be making his Metropolitan Opera début with the US Premier of Two Boys singing the role of Brian. Don’t worry, you can still catch Nicky at ENO this year – Nicky will be singing the role of Francesco in Terry Gilliam’s production of Benvenuto Cellini.



Swedish soprano Julia Sporsén graduated from the Royal Academy of Music Opera Course and was the winner of the Opera Rara Patric Schimdt Bel Canto Prize and the Flora Nielsen Song Prize. Julia made her ENO début in David Alden’s Jenufa as Iano.

Julia became a Harewood Artist last year where her roles at ENO included Livia in Benedict Andrew’s Caligula and the title role in Richard Jones production of Julietta. This season Julia is singing Rosalinde in Christopher Alden’s Die Fledermaus and as Antigone in the world premier of Julian Anderson’s new opera Thebans.   



Kate studied at the Royal Scottish Academy of Music and Drama and then at the National Opera Studio. At ENO Kate has performed in a number of varied roles including Cathleen in Fiona Shaw’s Riders to the Sea and as Elisabeth Zimmer in Elegy for Young Lovers, Helena in Christopher Alden’s A Midsummer Night’s Dream and Mimi in Jonathan Miller’s La bohème.



A graduate of the Royal College of Music and The National Opera Studio, George made his ENO debut in last season’s The Pilgrim’s Progress directed by Yoshi Oïda. This season George will perform as Sharpless in Anthony Minghella’s Madam Butterfly and Zurga in Penny Woolcock’s revival of The Pearl Fishers. George will also make his début at Danish National Opera signing Enrico in Lucia di Lammermoor.



Originally from Oxford, Catherine trained at the Royal Academy of Music and the Royal College of Music, and currently studies under the direction of Tim Evans-Jones. She took part in ENO Opera Works in 2009/10, and in September 2010 joined the ENO Harewood Artists, covering the roles of Zenobia Radamisto, and Second squire and Third Flowermaiden Parsifal. She made her professional debut in A Midsummer Night’s Dream at ENO in May 2011 and sang Second Lady The Magic Flute and Kate Pinkerton Madam Butterfly, a role which she reprises in the 2013-14 season.

Booking for the ENO Community Choir autumn term is now open!

ENO Community Choir was formed in January 2011 and offers anyone in the community who enjoys singing the chance to meet on a regular basis with likeminded people in a fun and friendly environment.  No previous experience is required! The choir is non-auditioning; they rehearse and perform varied repertoire, from pop and world music to ENO seasonal classics. After performances at ENO’s home: the London Coliseum, the Natural History Museum, Covent Garden piazza, St Martin’s Courtyard and Westminster Cathedral Hall, the choir will be working towards an exciting performance at the end of the autumn term.

Please click here to book your place for the Autumn term.


The ENO Community Choir is £25 per term, payable in advance. Alternatively, if you want to have a try ahead of joining next term, get in touch with us at baylis@eno.org and we can arrange for you to come to a rehearsal.

Visit http://www.eno.org/explore/eno-community-choir.php or email baylis@eno.org for more information including how to join.

ENO Community Choir is supported by Shaftesbury PLC.

The ENO Community Choir & The Longmont Chorale present a joint concert and an evening of assorted works from Haydn and Vivaldi to Lady Gaga!


The English National Opera Community Choir offers anyone who enjoys singing the opportunity to meet regularly with like-minded singers in a fun and friendly environment and no previous experience is required. Similarly, the Longmont Chorale is a non-auditioning community chorus that strives for excellence.

Held in the beautiful St Andrew Holborn Church, ENO Community Choir based at the London Coliseum, and the Colorado, USA based Longmont Chorale will be joining forces to showcase their talents performing their own and joint pieces, in a unique performance.

DATE: Saturday 29 June

TIME: 7:30 pm

VENUE: St Andrew Holborn 5-7 St Andrew St, EC4A 3AB

Free entry – retiring collection

How to get to there:

By Underground 

Central Line to Chancery Lane/ Circle & Metropolitan Lines to Farringdon/ Circle & District Lines to Blackfriars

By Rail 

Thameslink line to City Thameslink, Farringdon or Blackfriars.

By Bus

8, 17, 25, 45, 46, 242, 341, 521 

Famous for more than fifteen minutes?


Let us now turn famous men into operas has seemed a particularly American thought over the past thirty years. Richard Nixon took a trip to China for John Adams, Sister Jean Prejean heard the murderer Joseph De Rocher’s confession in Jake Heggie’s Dead Men Walking and now Walt Disney lives and dies on stage at the London Coliseum. 

But beware of believing that staging our own world is something new, or indeed particularly American. Think no further than Verdi’s La traviata, literally ‘the fallen woman’. A dangerous project from the start with a libretto based upon a scandalous French play in which the dramatist, Alexandre Dumas fils, had turned the book of his love affair with the celebrated courtesan  Marie Duplessis into a drama for the stage. Then there was Verdi’s personal take on the tale. Biographical in that he was living with a woman who was not his wife and however pious she would become, Giuseppina Strepponi was a woman with a past, and a family! No wonder Verdi’s father-in-law bristled with moral outrage. Worse from everyone’s standpoint, Verdi took the courtesan’s side and insisted that the first production destined for Venice in 1853 should be in modern dress. The censors knew exactly what they were doing when they demanded that the production be safely set in 1700!

But whether it’s 1700 or 1850, be it Paris, Beijing or Los Angeles, opera always lives in a present political tense.  Wagner mines myths of gods and giants and dwarfs in The Ring of the Nibelung to puzzle out the problems of power and the possibility of revolution in the authoritarian and then industrial nineteenth century. In Peter Grimes, Benjamin Britten turns a poem about a nineteenth century fisherman and his apprentices into an agonised plea for an understanding of the outcast, and the sexual outsider too perhaps. Verdi’s Don Carlos and Aida warn us about priestly tyranny. 

And The Perfect American? The public politics are there in Philip Glass’s opera. Disney, the right-winger who saw reds under every animator’s work bench. The ‘American patriot’ who coaxed Ronald Reagan out of the Democratic Party and back into the true Republican faith. Disney the boss who sacked workers when they dared to ask for rights. But it’s the cultural politics that are really interesting. How Disney, and the corporation that he and his brother Roy created, colonised the American imagination. Indeed in their movies and the entertainment parks they built made a version of America based on Walt’s boyhood in Marcelline Missouri that was never more than half of the real story. A Never-Never Land America that for so many Americans becomes America itself. It’s perhaps Glass’s own ambiguity as an American about this half-truth that gives his new opera its edge. Above all it’s there in the music which is not quite the Glass we usually hear. Sure the short repetitive phrases and the complex cross rhythms stride across the score, but there’s also American music, from Copland to Jazz, from Gershwin to the sweetly sentimental cocktail lounge ballad. An American collage that isn’t quite America. And that perhaps is Walt Disney’s principal legacy nearly half a century after his death in St Joseph’s Hospital Burbank California.

There are four more performances of The Perfect American (until 28 June). Tickets are available at http://bit.ly/PerfectAmerican

Christopher Cook gives pre-performance talks at English National Opera. Talks for next season will be available to book soon.



A double dose of delight as not one, but two of ENO’s Harewood Artists are representing England in the prestigious Cardiff Singer of the World 2013. Soprano Katherine Broderick and tenor Ben Johnson are among 20 singers competing for the title in this year’s 30th anniversary competition. Since joining the Harewood programme, both artists have gone on to perform a number of roles for ENO.  

Katherine most recently sang in Jonathan Miller’s production of The Barber of Seville, with The Guardian praising her as‘a vibrant and well sung Berta’. She also reprised her role as Donna Anna in Rufus Norris’s production of Don Giovanni. Before joining the Harewood programme Katherine completed her studies at the National Opera Studio, having won the Gold Medal at the Guildhall School of Music & Drama. She was the winner of the Kathleen Ferrier Award in 2007.  

Having quickly established himself as one of the most exciting tenors of his generation, Ben Johnson’s opera engagements for the ENO include: Nemorino inThe Elixir of Love, and Don Ottavio in Don Giovanni. Most recently played Alfredo in Peter Konwitschny’s acclaimed production of La traviata, with The Times describing his performances as ‘a knock out’. Johnson studied with Neil Mackie and Tim Evans-Jones at the Royal College of Music and now continues as a student of Jeffrey Talbot. He won the Kathleen Ferrier Award in 2008 and was a BBC Radio 3 New Generation Artist from 2010 – 2012.

The competition is being broadcast across BBC TV & Radio this week - see the full schedule. You can watch the first concert round, featuring Katherine, on BBC Four tonight at 7.30pm (18 June).

Best of luck to both of our singers!

The Power to Hurt

Anyone who thinks that a night at the opera is like stepping into a warm bath needs to think again after Carrie Cracknell’s new production of Wozzeck.

Comfortable it certainly isn’t, being neither easy on the eye nor the ear. Although as Cracknell herself said at the pre-performance talk you could possibly hear something that might be considered redemptive in the heart-bending orchestral interlude with which Alban Berg links the two final scenes of his first opera:  Marie and Wozzeck dead in the penultimate scene and then after the musical interlude their son alone amongst a gang of taunting children at the edge of the rock bottom estate where this bleak ex-soldier’s tale has been played out. But hardly had the word ‘redemptive’ escaped then Cracknell was keen to recapture it.


Wozzeck, played by Leigh Melrose (c) ENO/Tristram Kenton

How can a mistress who has her throat cut by her soldier lover who then takes his own life leaving an abandoned child, offer any of us solace? Cracknell and her designer Tom Scutt tell their story in a world where better feelings and personal ambition have been squeezed out by economic necessity. In the grimy pub, the tawdry living room and on a concrete staircase that belongs to the meanest public housing, survival is the only imperative. And, for Wozzeck, surviving is also surviving what happened to him in uniform as a soldier, post-traumatic stress disorder to give his emotional dislocation a name.

This is a community haunted by dead comrades returning in flag draped coffins, a place where the principal currency is small plastic bags filled with white powder. So the persecuting Captain deals in cocaine, while his fellow officer the doctor performs terrible dietary experiments on Wozzeck in return for cash. Social control and the oppression of ordinary people; the themes you’ll find in Georg Büchner’s play Woyzeck from the beginning of the nineteenth century and in the opera that Berg made from that play.

However, at the heart of Cracknell’s Wozzeck is a loving relationship that is also in a state of shellshock. If Wozzeck the dislocated ex-soldier wanders the town often not returning home, then should we wonder that Marie strays with the Drum Major?


Marie, played by Sara Jakubiak and Drum Major, played by Bryan Regiater (c) ENO/Tristram Kenton

If art can take us to places that we’ve never been, Carrie Cracknell leads us to corners of Britain that are for most of us no more than flickering images on a television news programme. Home once to another child who’s disappeared; another father who’s killed his partner; another housing estate struggling under the weight of its ASBOs. This Wozzeck looks at a terrible place where men and women are constrained to be less than they could and should and ought to be and it never blinks.

And nor should we. Music theatre - opera if you will - like this Wozzeck can wound. And if it has the power to hurt, then hopefully we’re wiser when we leave the Coliseum. That quotation from John Donne came to mind as I walked home. No, not ‘Death be not proud …  but ‘No man is an island,/Entire of itself./Each is a piece of the continent,/A part of the main.’

What do you think about Carrie Cracknell’s production of Wozzeck? Let us know either by commenting below, or tweet us using the #ENOBlog hashtag!

There are 2 further performances of Wozzeck remaining (until 25 May). Tickets are available here: bit.ly/ENOWozzeck

Christopher Cook gives pre-performance talks at English National Opera, for information about upcoming events vist: http://www.eno.org/see-whats-on/productions/production-page.php?&itemid=1356

Dating up in La bohème

La bohème 90 years on from 1840s?  Can that be right?   When Henri Murger published his stories about Bohemian Paris, Scènes de la vie de bohème, they were set in a Latin Quarter that was  riding on the flood tide of French Romanticism when to be an artist was the only real choice for a young man who knew that deep personal feelings were the thing that mattered. 

So why transport this most perfect of operas to the 1930s, to a Paris whose oddest corners were being mapped by photographers like Pierre Brassaï and which was suffused with melancholy for a film-maker like Marcel Carné. Leave well alone, the purists will say. This is a Romantic and a romantic story of boys and girls falling in and out of love, of ‘golden lads and girls [who] all must…come to dust.’ So bustles and bonnets please, not Marcel waves and brilliantine.


Richard Burkhard, Gwyn Hughes Jones, Kate Valentine, Duncan Rock, Andrew Craig Brown (L-R) in La bohème

But wait …. The opera was written in the middle 1890s, so Puccini and his librettists Giacosa and Illica, who naturally were all Italian, were imagining a Paris that they had never experienced at first hand. In this sense the La bohème is doubly nostalgic. It looks back to a time that has passed and as it does so it indulges perhaps incipient middle age dreams of the agonies and ecstasies of young love from the men who created it. And we, the audience? We live over a century after the first performance of La bohème in Turin and almost two centuries after Murger’s poet first kissed a neighbouring seamstress. The time period in which you set a production of an opera is not as straightforward as it seems. And if the work is as popular as La bohème it’s all too easy for a producer to encourage his audience to wallow in a warm bath of nineteenth century sentiment rather than ask themselves about the questions about class and gender, and what Bohemia is and why we need it and where it is. Matters that are at the heart of Puccini’s masterpiece. This is more than the story of a pretty working-class girl who falls for a handsome poet and then dies absurdly young from TB. 

So what are the rules about updating a production? Jonathan Miller, who’s a master of moving a opera to a new time and a new place, will tell you that the most important thing is that the world in which you relocate the work must be the equivalent of that in which it was originally set and in every respect. It has to make complete sense. So his Tosca was relocated to a Rome in the closing days of the brutal German occupation of Italy, just as Sardou’s original play and Puccini’s opera had the Neapolitan Bourbons attempting to destroy those aspirations to political liberty associated first with the French Revolution and then the invading armies of Bonaparte. The famous mafioso Rigoletto and The Elixir of Love à la James Dean in the American South West. They are all perfect fits.


Kate Valentine and Gwyn Hughes Jones in La bohème (c) Donald Cooper

So in this La bohème the bohemians are rich boys slumming it, pretending to be poets and painters and musicians. In time they’ll settle down to ‘real’ jobs as lawyers, bankers or in the family business; and they’ll remember sowing their wild oats when they lunch at the Club or meet for annual reunions. They will look at the photographs of the time when they were young, Brassaï’s bars, Doisneau’s street scenes and Cartier Bresson’s reimagined Paris as souvenirs of their salad days.  And that sense of relentless fate that haunts Mimi and Rodolfo – that’s surely the same fatalism you find in Marcel Carné’s work with Jacques Prévert, films like Le jour se lève and Le Quai des brumes. Ninety years on from Murger and almost another ninety years on from the 1930s this updated La bohème makes perfect sense.


What do you think about updating performances? Let us know either by commenting below, or tweet us using the #ENOBlog hashtag!

There are 10 further performances of La bohème  remaining (until 29 June). Tickets are available here: bit.ly/ENOBoheme

Christopher Cook gives pre-performance talks at English National Opera, for information about upcoming events vist: http://www.eno.org/see-whats-on/productions/production-page.php?&itemid=1356