Producer Laura Curry on reinventing Rossini for Camden Fringe 2026, casting emerging talent and why Upstairs at the Gatehouse feels like home
Opera Kipling return to Camden Fringe this summer with a fresh, high-energy reimagining of Rossini’s The Barber of Seville. Seville has been transported to a swinging 1960s music hub, all bold colours and youthful independence, with a Mod-styled pop star Almaviva trying to win Rosina’s heart under the nose of her overbearing guardian Bartolo and Figaro working his usual fast-talking magic in the middle of it all.
Formed in 2019 by a group of young professionals with a mission to bring accessible, up-close opera to audiences across the UK, the company has built a loyal following at fringe festivals over recent years. Ahead of the run, producer Laura Curry spoke to us about the thinking behind the 1960s concept, how casting works when you’re trying to give emerging singers a career-defining role, and what keeps them coming back to Highgate each summer.
Red Bus: Opera Kipling started in 2019 with a mission to bring accessible, up-close opera to audiences across the UK. What’s the most surprising reaction you’ve had from someone who came along not expecting to like opera?
Laura Curry (producer): I would say some of the most surprising reactions we’ve had are, ‘I never knew Opera could be so funny!’. Our operas are always set in small spaces, with intimate settings, and minimal set (for touring purposes!) and we endeavour to make the audience feel as comfortable as possible during our shows with modern subtitles to help give an extremely accessible experience. Our up-close performances really allows them to be involved in the humour and see every expression on the casts’ faces!
Red Bus: Giving emerging artists the chance to add important roles to their repertoire is central to what you do. How does that shape your casting decisions for something like this?
Laura Curry: The casting process can vary from year to year, depending on when we are working, who is available and how difficult the roles are to cast. We love to read singers’ CVs and listen to their recordings, and it can be quite overwhelming how many fantastic singers there are out there! We always try to find singers who we feel not only could use the role for their personal career development, but also fits into the group as a whole. It’s very important to us that the team have a good relationship, as it’s a short but intense process with Opera Kipling and we want all involved to have fun too. We are very lucky that we’ve been able to invite singers back for their dream roles, and to see them take the next steps in their careers, both in the UK and on the international stages! It’s a fantastic feeling being a part of a singer’s journey, and we only wish we could cast everyone!
Red Bus: Rossini’s Barber of Seville is over 200 years old but you’ve clearly had fun playing with it, big hair, sharp suits, a pop star Almaviva. What was the moment in rehearsals when you knew the 1960s setting was really going to work?
Laura Curry: As a company, we’ve often started with a concept before anyone is cast! We have a look at what the company has done before, which eras in particular, and what we can reuse before deciding. Sometimes we look at the current world climate too, in order to create something modern but inviting. This year the 1960s setting grew out of the need for some fun with hair! Figaro is a barber after all, and we thought the 60s was a great moment for hair reinventions and a hairstyle for everyone! It also happens to be an era we’ve not featured yet, and our costume team are always keen to try something new!
Red Bus: You’ve become something of a Camden Fringe fixture over the past few years. What keeps drawing you back rather than looking elsewhere, is it the audience, the venues, or something more practical?
Laura Curry: We have done a few different fringe festivals since our inception, and we simply love the Camden Fringe! It’s practical for most of our performers, as they tend to live in or near London, and we try to always consider their other responsibilities when we book our summer shows. Often our cast have children, partners, pets or other work commitments in London, and we find having such a well supported fringe festival in the centre is such a gift, to allow our team to enjoy themselves but not have to worry about rearranging their whole life to work for us.
The Camden Fringe audience is also a massive draw for us, as they have always been wonderfully receptive to what we create and really make the festival something special. The cooperation with the venues too, makes it feel less like work and more like working with friends! Upstairs at the Gatehouse (our Camden Fringe home!) have always gone above and beyond for their fringe performers, and have really made it a joy to return each year.
Red Bus: If someone’s never seen an Opera Kipling show before, what would you want The Barber of Seville to tell them about who you are as a company?
Laura Curry: We are simply a group of professionals doing what we love, and we hope you’ll enjoy it with us! Our shows are always family friendly, full of fun and sometimes a little silly! We are all very friendly too, and are always delighted to receive your feedback, thoughts and questions – just come say hello at a show! We want to make everyone of our audience members feel at home with us, and show that Opera is for all!
LISTING DETAILS
The Barber of Seville
Opera Kipling
Upstairs at the Gatehouse, Highgate Village, London N6 4BD
7-9 August 2026, Camden Fringe
Tickets: £18 (£16 concessions)
Suggested viewing age: 12+
Sung in Italian, with comic subtitles in English
Tickets: Camden Fringe or Upstairs at the Gatehouse
Red Bus Londinium Life 