Prokofiev's early opera seems an odd choice for a country-house venue. Written during the first world war but revised before its 1929 premiere, it finds the composer at his most radically modernist, setting a fast-moving plot to a disjointed score that dispenses with lyricism. Easy listening it isn't.

But the music keeps faith with the subject, a setting of Dostoevsky's 1867 novel about a raffish group of gamblers in the mythical town of Roulettenberg. It is a study in obsession, its characters a collection of semi-comic grotesques, its love-interest confined to the young tutor Alexei's unhealthy relationship with the unstable Pauline.

Sung in English, David Fielding's staging moves the period forward from Dostoevsky's time to the early 20th century, focusing the action in the lobby of a casino before the climactic scene around the roulette table when Alexei wins a fabulous sum only to have it thrown back in his face by Pauline, by which point he is a hopeless gambling addict.

All the characters are two-dimensional, and a fine team of singing actors cannot make up the deficiency. But there's plenty of purposeful energy from Andrew Shore as Alexei's employer, the debt-ridden General; from Carol Rowlands as the General's elderly aunt, who also succumbs to the gambling bug; and from Jeffrey Lloyd-Robert's perilously devoted Alexei, though he could do with more vocal steel. Katherine Rohrer's Pauline is a little too contained.

In the pit, conductor André de Ridder and the Orchestra of St John's deliver a hell-for-leather account of the piece without managing to raise it anywhere near the level of Prokofiev's best work.

· In rep until June 16. Box office: 01962 868600.