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21 February 2026
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4**** ½
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In August last year we had the delight of reviewing Somerset Opera (in collaboration with Pleasure Dome Theatre) for the first time and so it is invigorating to return to the company for their latest project. La Boheme must be regarded as one of the most popular works of its genre; with its themes of friendship, poverty, love and grief, it has just about everything and that’s before you add the genius of Puccini’s stunning music.
Transferring the action from 1830’s Paris to 1930’s Taunton is a smart stroke and works perfectly, as the privations of the characters are all too keenly mapped out by the effects of the progression of World War Two. Performing in a church is always fascinating and the setting of the production is offered enhanced atmosphere by its surroundings. The traverse staging is simple, but effective. With unfussy, fluid scene changes, from the start, the storytelling never stutters or drags, helped by the careful editing of the score which ensures nothing is lost. Stage Director, Callie Nestleroth has pitched the production perfectly.
The opera is very much a game of two halves, with the first being fun, ebullient and optimistic and the second, darker (literally) and ultimately tragic; again, the director illustrates this so well. Opening with the four penniless friends attempting to see the positive side of their poverty-stricken Bohemian lives, the quartet of Robin Jeffcoat (Rodolfo), Ross Cumming (Marcello), Tom Clough (Colline) and Dominic Bowe (Schauard) are perfect – each so individual with strong personalities and voices to match. You are in no doubt they have a deep friendship and care for each other – there is a Musketeer vibe about them. At the heart of the opera is, of course, the love story of Rodolfo and Mimi; the performers must have an unmistakeable chemistry, and as soon as Josephine Cressswell enters the action, so the spark is lit. The rightly famous aria ‘Che gelinda manina’ (your tiny hand is frozen) arrives early in the story and Jeffcoat invokes the tear ducts of the audience as his voice soars to the roof of the medieval nave – it takes your breath away. Mimi is a tricksy character, while the character is gradually dying of tuberculosis, the voice needs great strength to sing and Cresswell has a wonderfully clear and strong instrument which she avoids making too muscular.
Light relief accompanies the appearance of the sassy Musetta, firey by nature and with flaming red hair to boot, Stephanie Berner’s vocals match her powerful, brash character and fill every nook and cranny, it is wonderfully fun, but reaches far more tender levels come the conclusion of the story. The quartet in Act Three, ‘Addio dolce svegliare alla mattina!’, is a real highlight and staged really effectively, the four voices blending perfectly. It is deeply affecting, as is ‘Vecchia zimarra’, which Colline sings to his old coat which he will pawn to buy medicine for Mimi – Tom Clough imbues it with such deep affection, it is a sublime piece of singing.
Throughout, the central characters are supported by smaller roles; delightful work particularly from Harold Mead as Alcindoro and Stephen Grimshaw as Benoit. The whole chorus give extra colour and weight to the story and it’s always good to see young performers involved.
David Hedges directs the small orchestra with care. With the musicians placed behind one side of the audience, he has the unenviable task of having to monitor sound levels and does this well. Puccini wins the day as the music intoxicates and the singing emotes throughout.
The in-house translation is fun and punctuated with local references which work far better than you might think, it isn’t forced. Sometimes transfers from one era or place to another just fit well.
The final scenes are played with such a level of care, with understatement and with warmth and love. When the end comes, it is dramatic; darkness suddenly falls and there is silence. A pause before the audience reacts, the final moments hit home as the inevitable takes place.
A beautiful production with top notch performances which, once again, illustrate the joy that Somerset Opera can create for everyone.
Cast
Mimi – Josephine Cresswell
Musetta – Stephanie Berner
Rodolfo – Robin Jeffcoat
Schaunard – Dominic Bowe
Marcello – Ross Cumming
Colline – Tom Clough
Alcindoro – Harold Mead
Benoit – Stephen Grimshaw
Parpignol – Dennis Carter
Army Officer – Mia Morgan
Chorus – Lona Jones, Rachel Smith, Aadriti Mohniti, Sasha Herriman, Susan Richards, Alison Robson, Dominic Crilly, Simon Cuciurian, Stephen Grimshaw, Dennis Carter, Mike Dunn, Harold Mead, Mia Morgan
Urchins – Eleanor Ely, Christabel Salt, Iggy Salt, Imogen Smith, Trixie Smith
Creatives
Music – Giacomo Puccini
Stage Director – Callie Nestleroth
Musical Director – David Hedges
Musicians – Brigid Kirkland-Wilson, Alex Ennis, Rowan Patterson, Chris Bull, Chris Sampson, Val Mizen, Miles Williams, Ed Jenkins
Photo Credit – Ed Felton
