Who’s in and who’s not – on the secret, the joke, the relationship, the family, the club? That’s the fulcrum of Joe Hill-Gibbins’ ingeniously simple Figaro for English National Opera. A white box and ...

But if Hill-Gibbins stretches reality beyond breaking, aided and abetted by Matthew Richardson’s queasy, neon-tinged lighting, it’s a game that works because of the anchor of Jeremy Sams’ English ...