‘In this production . . . we are drawing on expressionism, fantasy and dream to explore the unknowable Don,” says director Jenny Miller in her programme notes. “Our set and costumes evoke the memory of some tawdry, itinerant Victorian circus or players’ troupe.”

It’s an interesting idea — and it almost works. Unfortunately, though, the result is a production that is heavy on dramatic intensity but light on humour, with a gloomy, claustrophobic set, some clumsy scene-shifting and self-conscious staging that often appears too contrived and distractingly busy. During the supper scene, for instance, Giovanni’s Già la mensa è preparata is all but ruined by the frenzied preparations going on around him. And do we really need a puppet show with Leporello’s ‘catalogue’ song?

The production is saved by a top-notch cast, who cope admirably with the over-fussy demands placed upon them. Nicholas Merryweather is a bit lightweight, both vocally and dramatically, in the title role, doing everything right but never quite menacing enough, and never quite managing to dominate the stage in the way Giovanni should. Byron Jackson is more convincing as a mischievous Leporello, although he, too, could occasionally do with a bit more vocal clout.

As the Commendatore, Sasa Cano has the vocal mastery and imposing stage presence that Merryweather needs; this is a really powerful performance. The classiest singing, though, comes from Elizabeth Donovan, Stephanie Corley (pictured) and Martene Grimson as Donna Anna, Donna Elvira and Zerlina respectively, and from Mark Milhofer as one of the most sublimely-sung Don Ottavios I’ve ever heard; his Il mio tesoro intanto is one of the evening’s highlights.

So, rather a mixed bag, but this Don Giovanni is worth seeing; despite its drawbacks, it is a compelling piece of theatre, and the orchestra, under Gianluca Marcianò, accompanies brightly and flawlessly.

Until Saturday. Box office: 01451 830292.