‘The Tales of Hoffman’ is perhaps the maddest opera I’ve ever seen, the narrative is almost completely incomprehensible with unexpected twists from start to finish. Director Richard Jones uses these bizarre anomalies to his advantage creating a wildly imaginative but baffling production.

Offenbach’s problematic work was left unfinished at his death in 1880. The ENO are staging a controversial edition by Michael Kaye and Jean-Christophe Keck rather than opting for the more traditional version that the Royal Opera House use. The most obvious difference, aside from drastic alterations to the score, is the ordering of the acts.

Arriving at the Coliseum, I was eager – I’ve never seen this Offenbach classic before and recently the ENO has produced a string of brilliant shows so my expectations were high. With an unusual 7pm start, I knew it was going to be a lengthy performance.

The piece begins and finishes with embarrassing sequences as the drunken writer Hoffman stumbles about struggling to find inspiration. His muse/ conscience/ sidekick Nicklausse follows him about like a loyal dog, commenting on his behaviour and trying to instill sense into the delusional protagonist. Hoffman then divulges information regarding his three fantasy women: Olympia (a doll), Antonia (a singer) and Giuletta (a prostitute) and we learn of his unrealistic relationship with each of them, and the disastrous partings.

Of the three acts and three lovers, the first is by far the most successful, a kitsch raucous scene at a children’s party with a captivating blonde doll that comes to life, it is a sensation. Unfortunately because of this early climax, the remaining two acts seem comparatively dull. However set designer Giles Cadle and costume designer Buki Shiff present a visually fantastic production, and the stage transformations are handled beautifully; every act conjures up a new dream.

The cast do a marvelous job, singing brilliantly and remaining in their tricky characters with impressive conviction. The three leading roles are particularly outstanding; Barry Banks as Hoffman, Christine Rice as Nicklausse and Georgia Jarman as the three women. Jarman makes a strong ENO debut, taking on this challenging role: her voice is clear and crisp and suits the part. She excels as the doll, mimicking the rigid movements of a toy while simultaneously delivering vocally. She is a little less convincing as the weary Antonia and the promiscuous Giuletta. Christine Rice is wonderful, she is completely captivating throughout, her voice is rich and delicious. Clive Bayley’s performance as the four ‘baddies’ is appropriately sinister and his deep bass voice is chilling.

Surely no-one can deny that the ENO offers the most diverse and interesting programme of all opera houses in this country. Each and every production is unique and adventurous, a feat  for which we must applaud the company. The Tales of Hoffman is a night of surprises, and yet the tremendous singing remains consistent throughout.

Continues until 10 March, book here.