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A train carrying costumed characters on a theatre stage

Transported by Music – The delightful links between transport and opera

By Elizabeth McKay,
2 minute read

In a special digital event recently hosted for London Transport Museum’s Patrons, Elizabeth McKay, the Museum’s Chief Operating Officer, and Dr Harry Brünjes, Chairman of the English National Opera and the London Coliseum Theatre, discussed the theme of transport in opera and explored the ongoing role of innovation to delight audiences.

a blonde woman and a grey haired man smile to the camera

Elizabeth and Harry discussed productions from recent ENO seasons, explored the archives of the Coliseum, dipped into the Museum’s collection of posters, and talked about future plans in development at both organisations to further enrich this fascinating theme.

What follows is a visual excerpt of the event featuring stunning photographs from the English National Opera and London Transport Museum. Enjoy!

Iolanthe, Orpheus in the Underworld and Carmen: the staging of vehicles

Iolanthe is a comic opera from Gilbert and Sullivan which satirises many aspects of British government, law and society. For the ENO’s production, a train full of peers of the realm spectacularly bursts through the scenery in every production.

A train carrying costumed characters on a theatre stage

The ENO has a reputation for innovation and its 2019/2020 season featuring four operas with an Orpheus theme continued in this tradition. Emma Rice’s production of Orpheus in the Underworld introduced a London cabbie to provide the transport from heaven to hell. What better way to arrive at the nightmare West End peep show that was the staging of Pluto’s realm than by taxi?

Two men in front of a black taxi cab on a theatre stage
ENO Orpheus in the Underworld 2019, Emma Rice. Courtesy of English National Opera

Carmen is probably the most popular opera ever written and tells the story of the tumultuous affair between Don Jose and Carmen. The ENO’s production by Calixto Bieto transported the original nineteenth century setting to the end of Franco’s regime in the 1970’s, complete with a small fleet of vintage Mercedes.

Two women appear to have a heated conversation while standing across the bonnet of a car
ENO Carmen 2020, Ellie Laugharne, Samantha Price, © Richard Hubert Smith. Courtesy of English National Opera

And finally, one of the highlights of the summer was the return of live music with the world premiere of a unique outdoor, drive-in opera experience. This production of La Bohème transformed bohemian Paris into the modern bohemia of London. What could better illustrate ‘adversity is the mother of invention’ than creating and staging an opera outdoors at Alexandra Palace that conformed the requirements of social distancing – and included a VW bus!

A drive in theatre at night time
ENO Drive & Live - La Bohème at Alexandra Palace, Natalya Romaniw © Lloyd Winters. Courtesy of English National Opera

History of the London Coliseum Theatre

Turning back the clock to the history of the Coliseum, this wonderful building has its own surprising transport links. It was incredibly advanced when it opened in 1904, containing a revolving stage with three concentric rings, stretching 75 feed across and costing £70,000 (that’s over £8.5 million in today’s money). When the Coliseum opened, the electricity supply came from the tramways system.

Vintage drawing of a grand theatre building with people walking in front in period clothes
London Coliseum Theatre, Courtesy of English National Opera

The Coliseum also boasted a unique transport vehicle although it didn’t have a very successful run. The King’s Car was designed for King Edward VII to take royalty from the street directly to the royal box at the back of the stalls. However, it broke down on its maiden voyage and was relocated as a box office in the Stoll Theatre.

A man in uniform stands in front of a wooden car
The King's Car. Courtesy of English National Opera

Musical London: How music has influenced London Transport’s imagery over the years

Another link between London Transport Museum and ENO is our love affair with London, a vibrant and exciting centre for the arts. Londoners have experienced and enjoyed the city’s music over time and travelling to the theatres and concert halls in the West End has been part of the experience. We’ve recently curated a new story on our website, Musical London, which illustrates the important role music has played, and continues to play, in London’s transport imagery.

One of my favourite posters in our collection, by Franz Unger in 1959, features audiences and encourages people to ‘see live theatre for a change.’  It’s been nearly nine months that most theatres have been dark and the cultural sector has been hit hard.

London Transport Museum has just reopened after a second lockdown on 3 December and ENO is ready to resume live performances with an exciting new season in 2021/ 2022. We’ve all been missing our visitors and audiences and look forward to getting back in the groove!

Photos 3, 4, 5, 6, 7 and 8 Courtesy of English National Opera

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About Elizabeth McKay

Elizabeth McKay has been the Chief Operating Officer of London Transport Museum since September 2018, and leads the design and delivery of its vision to ignite curiosity about the future. She is the Deputy Chair of Kids in Museums, an independent charity dedicated to making museums open and welcoming to families and was previously Chief Learning Officer at Historic Royal Palaces, where she developed a new strategy that doubled the reach with new audiences. Elizabeth is also a patron of English National Opera.