Eugene Onegin / The Journal

“Worthy of note is Becs Andrews’s superb set design. The Larina estate, for instance, is carved up by a fence which seeks to keep the economic realities of peasant life separate from Tatiana and Olga’sbourgeois romances. The arrival of Onegin from the city and Tatiana’s passion for the wealthy dandy triggers the metaphorical destruction of this artificial barrier. Elsewhere, Tatiana’s bedroom—the scene of bookish, idealised romance—is suitably impressionistic. A red cloth backdrop, knotted to form a stylised window, is stripped back to reveal surreal towers of books which Tatiana mounts as she completes the doomed love-letter to Onegin – a triumph which, in RSAMD’s Eugene Onegin, is as imaginary and precarious as those teetering piles of romantic novels.” Evan Beswick

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