To write in a Modernist fashion, include tonalist asides and set pieces, and to retain wit is no mean feat, but Dommett succeeds. A cross-dressing Ted Day as Fanny and Eyra Norman as Stella excelled, propelled by the stage’s riot of colour. The simultaneous juxtaposition of a tonal layer within a more atonalist aesthetic was magnificently negotiated

~ Opera Now

Dommett’s opera packed a great deal into its short time span and largely succeeded because of a masterly libretto by Jessica Walker that simply didn’t stray too far beyond the confines of what it was trying to achieve. Set within a single day, Fanny and Stella buy stockings, sing a parlour song, go to the theatre and then get hauled before Bow Street – and this all happens to the most riotous, playful and rollicking score that risked much and succeeded entirely in making it work. I wondered at the time whether Dommett’s focus on the piano would be a contestable issue with this opera, but their uses it so skilfully and with such panache it was a joy from first note to last.​

– this was high class opera with both pathos and humour and a score that matched it every bit of the way.

~ Opera Today