NIGHT AT THE OPERA GOES DOWN THE PAN

IN THIS production, feminist director Katie Mitchell plumbs the depths, as a splendidly equipped Victorian bathroom plays a major role.

At one point the heroine repeatedly flushes a fine example of Thomas Crapper’s noble throne — fortunately she is miming.

Taking their cue from Walter Scott, Donizetti and librettist Cammarano create a tragedy set in rural Scotland, where a blood feud between families is plausible.

Mitchell gives us an urban setting: the villainous Enrico Ashton’s huntsmen and retainers become top-hatted gents. She and soprano Diana Damrau present a feisty Lucia, who improbably collapses at the first sight of a forged letter. The real Lucia is a pre-feminist victim, hemmed in by implacable forces.

Lucia and her true love Edgardo

Lucia Di Lammermoor (Royal Opera House) Verdict: Loo-dicrous staging

spend the first part of their Act 1 duet casting off their apparel for a quick coupling. From there it is just a step to Lucia’s morning sickness.

Mitchell splits the stage so scenes are pinched into one half, while in the other we see what is happening. This idiocy destroys the where the chaplain tells wedding guests that Lucia has murdered her bridegroom — and the killing is so inept that the audience laughs, not at all in accord with Donizetti’s aims.

The music is classy — but it can’t overcome this crass staging.

TULLY POTTER