Compared with contemporary dramaturgy, especially in both Britain and Germany, Tim Albery’s production of The Flying Dutchman was already looking old-fashioned when it was new in 2009.
Stripped down to the essentials of the myth as it is, however, it straddles the archetypal and modern-day divide with undeniable skill. A palpable lack of vocal firepower in the lead roles seems less of a disadvantage in an introspective reading such as this than it might otherwise.
