The Handmaid’s Tale, seems primed for the operatic format, with political uprisings and passionate affairs at the centre of the plot and pointed social commentary at the centre of its heart.

Staying close to the source material by Margaret Atwood, Canadian author of renowned ‘speculative’ fiction, the opera’s story is told through Offred (true name unknown) via tapes unearthed by the International Historical Association 2195. These tapes are revealed by Professor Pieixoto (Juliet Stevenson in a speaking only part) at the annual gathering, a plot device often used by Atwood and many spec fiction writers who followed her.

The USA is now the Republic of Gilead, a religious military dictatorship, and women are now split into classes depending on their attributes and social standing. Offred is a Handsmaid, dressed in red and owned by the Commander/Fred, whom her given name is taken from, and expected to do nothing but bear his children, through ritualised rape and subjugation.

Kate Lindsay is Offred, lamenting her pitiful existence with a powerful mezzo-soprano that captured her plight with style, though it was unfortunate that the Opera lost seemingly the entirety of what makes Offred a fascinating character – her wit and venom. In the books, via her internal monologue, she spits uncouth insults and taunts on those around her and her situation. She’s often funny. This interpretation loses some of that element, which is key to making the story relatable and feeling so close to our reality. Poul Ruders‘ Opera has it’s own flair that leaves you feeling morose rather than feeling that you should never “let the bastards grind you down”.

Pre-recorded scenes explain how the world changed, with the wicked Susan Bickley as Offred’s renegade mother and the silky toned Tenor voice of John Findon as the warmly charming Luke, Offred’s husband, fate unknown. It was difficult to see projected from the curtain from this reviewer’s seat though the setting seemed both set nowadays and in the distant past thanks to the sepia execution, which was apt and compelling work from Annemarie Woods, set and costume designer. These two skillsets came truly together in the prelude, where Handmaids iconic red robes hung – literally – from the fly tower of the stage as if on display at an exhibition. An eerie addition to your Instagram grid pre-show.

The English National Opera is, as ever, daring in this production… though some would say not daring enough given the brutal source material. The show has now concluded – this reviewer caught a later nearly sold out show – but it’s likely to tour given the still popular Hulu show and the scarily relevant cautionary tale within.