Edward Bhesania, The Stage - 07/06/2021
Malcolm Rippeth’s lighting throws the angular struts of Tom Piper’s set into relief, projecting an abstract forest, and the half-lit stage becomes one with the dusk that creeps around Garsington Opera’s Pavilion. It’s a magical moment in Michael Boyd’s Eugene Onegin, new in 2016, and one of many in which cohesive stagecraft enhances the mood or action.
