It was both audacious and logical to stage Stravinsky's neo-classical opera in Iford's tiny Italianate cloister. The intimacy of the setting puts everything into dangerously sharp focus, but Iford Festival Opera bring if it all off with their hallmark panache and ingenuity.

Director Jeff Clarke and designer Gabriella Csanyi-Wills are faithful to the spirit of the Hogarth paintings that inspired Stravinsky, but, by mixing a mainly 18th-century feel with elements of the 1950s (the date of the piece) and of today, the morality tale is given an all too contemporary resonance. Posturing for digital and video cameras adds a modern equivalent to Hogarth. Yet, in WH Auden's centenary year, it is the Jungian slant of his libretto - written with Chester Kallman - that emerges here. The devilish Nick Shadow is implicitly another facet of the anti-hero Tom Rakewell. Most often, Shadow is blackly satanic, but by casting a tenor (Peter Wilman) and baritone (Daniel Grice) of similar build and dressing them identically, the point of the demon inside is strikingly made.

Wilman's likable Tom made one want Rebecca van den Berg's warmly expressive Anne Trulove to succeed in redeeming him. Conductor Oliver Gooch's judicious handling of the score was crucial to the overall clarity of characterisation. With the 20 players of the Pepys Ensemble, the counterpoint of voices and instruments was revealed as a more symbiotic relationship than is apparent in a large opera house.

In the final scene, Bedlam is not an asylum but a mind-numbing cybercafe. As the delusional Tom regains Anne by tapping into his Venus and Adonis fantasy game, this is not just virtual reality.

· Until Saturday. Box office: 01225 868124.