Susanna marks the fourth collaboration between Leeds based Opera North and Phoenix Dance Theatre. It is a combination of art forms that still feels experimental yet is clearly emerging into something new, elevating both storytelling formats.
It helps that the choice of opera is a lesser-known work and therefore the audience have little preconceptions about what to expect. Handel originally wrote it as an oratorio (concert style) in 1749, when Biblical stories weren’t permitted to be enacted on stage. It is based on a story from the Book of Daniel about Susanna who finds herself facing death after being falsely accused of adultery by two powerful, predatory men set on destroying her reputation and her marriage after she spurns their advances.
The themes of abuse of power, violence against women, corruption and gender-based injustice still have strong resonance today. And soprano Anna Dennis’ outstanding performance as Susanna reflects the deep trauma of this abuse that reverberates beyond her release. The integrity of the character is embodied in the purity and strength of her voice. At one point Dennis even sings lying down and it appears the song coming out is the most natural thing in the world – what strength!
The performance is also elevated by the onstage chemistry between Dennis and countertenor James Hall as her husband, Joacim. Hall’s openness and warmth makes for a stark contrast to the lustful deception of Colin Judson and Karl Huml’s Elders, dark performances that win them villainous pantomime boos at the curtain call.
While you may not be familiar with the music, it has the same recognisable Baroque majesty and dramatic energy of Handel’s coronation anthem ‘Zadok the Priest’ and the rousing chorus of his ‘Messiah‘.
Staging the story as an opera, with additional layers of the dancers and a deaf/British Sign Language performer on stage (Tianah Hodding), who is not simply signing the action but a fully integrated character, matches the grandiosity of the music in a way that is both imposing and absorbing.
The dancers are not simply background to the singing, often taking centre stage as an emotional interpretation of both the story and the music. For example, sometimes the dancers are almost dream-like interpretations of the central characters, while at other times they add depth to the narrative by reflecting more of the undercurrent themes of the story.
At times the sheer amount of activity on stage can feel overwhelming – like a high energy TikTok version for our 21st century short attention spans – although the length of the opera, particularly the 87 minutes before the interval suggests otherwise.
There are a couple of moments when the staging detracts from rather than enhances the singing. This could be an intentional part of the experimentation of this collaboration, making it clear that this is not simply opera with some dance, but something much more closely melded to create a new art form.
On the whole, however, this reimagining is bold, relevant and from the opening danced overture to the final curtain call – utterly engaging.
Opera North: Susanna was at Lowry, Salford on 14 November 2025.