Waves crash out of sight; the wind whips up shingle and stirs buried secrets. On stage, the storm brews between Benjamin Britten and Imogen Holst. It’s 1953, and England’s eminent composer is writing Gloriana, an opera to mark the new Elizabethan age. Holst has been conscripted to help with the process, but her enthusiastic expertise is not welcomed. (“I never wanted you,” cuts Samuel Barnett’s Britten with icy honesty.) Holst (Victoria Yeates) is very jolly hockey sticks in the face of this unpleasantness, drawing on her experiences supporting her father, Gustav Holst, as she comforts another tortured genius. Barnett and Yeates are magnetic in Mark Ravenhill’s Ben and Imo, the two-hander play that recently moved from Stratford’s Swan Theatre to Richmond’s Orange Tree. We surround a piano, scattered manuscript, a…
