World Premiere For New La Bohème, A Powerful Australian Story In Town For The First Time And A Charming New Family Favourite In Opera Australia’s Wide-ranging Melbourne Spring Season

Feature-Opera Australia’s Melbourne Spring season

The Wagner Gala: A triumphant return of world-class opera to renewed Ian Potter State Theatre

Opera Australia will make a spectacular return to the newly refurbished Ian Potter State Theatre with a selection of Wagner’s most extraordinary pieces, including operatic arias and orchestral masterpieces, performed by some of the leading Wagnerian specialists of our time. The world-class cast will be led by acclaimed German Maestro Michael Güttler and will star British dramatic soprano Catherine Foster, known for her portrayal of Brünnhilde at the Bayreuth Festival, Russian tenor Sergei Skorokhodov, known for his powerful performances as Lohengrin and Tannhäuser and one of the Australia’s most versatile and in-demand baritones, James Clayton, who returns to sing with Opera Australia for the first time in over a decade.

16 October | Ian Potter State Theatre, Arts Centre Melbourne, Tickets from $89

La Bohème: A brand new, shimmering production to premiere in Melbourne

A lavish, brand-new production of La Bohème, by visionary young director Constantine Costi, will have its world premiere in Melbourne this November. Set in a snow-kissed Paris, this must-see production will breathe vivid new life into the opera that has inspired countless bohemian love stories. Australian rising star conductor Finnegan Downie will lead a luminous cast of international and Australian talent, including a homecoming season for Melbourne-born Alexandra Flood who will sing Musetta, while Galina Cheplakova and Valeria Sepe will break hearts sharing the role of Mimì and tenors Kang Wang and Paride Cataldo both take on the soaring melodies of Rodolfo.

7 – 18 November | Regent Theatre Melbourne, Tickets from $79

Opera Up Late: Opera’s naughtiest late-night party is back with more music, more glitz and more outrageous fun

The campest night at the opera is back: opera’s greatest late night party, Opera Up Late, hosted by the outrageous Reuben Kaye, returns to Melbourne’s Regent Theatre. A riotous celebration of all things opera, plus a few musical theatre classics and pop numbers for good measure, it’s both the perfect opportunity for newbies to pop their operatic cherries and aficionados to enjoy some of the most iconic arias as they’ve never seen, or heard, before. Award-winning director Shaun Rennie brings together a cast of fabulous singers for a night of big laughs and even bigger voices. Australia’s most highly awarded soprano, Emma Matthews, will be joined by Ruth Strutt, Daniel Macy and Anthony Mackey, all making a welcome return to the glittered Opera Up Late stage.

15 November | Regent Theatre Melbourne | Tickets from $79

The Trumpet of the Swan: For the first time in Australia, Jason Robert Brown’s charming introduction to musical storytelling

Symphony and storytelling bring E.B. White’s classic children’s novel The Trumpet of the Swan to life, with lively narration performed by a group of actors alongside a cinematic, lyrical score played live by Orchestra Victoria. Adapted for the stage by Pulitzer Prize winning playwright Marsha Norman and Tony Award-winning composer Jason Robert Brown, this work, staged especially for families and children, is a charming testament to the power of music and a perfect introduction for young music lovers to live orchestral performance. A hit at its Kennedy Centre premiere, Opera Australia presents this delightful work on the Australian mainstage for the very first time.

20 – 22 November | Regent Theatre Melbourne, Tickets from $59

Watershed: The Death of Dr Duncan: A searing Australian opera tells of real-life tragedy and triumph

Ravishing operatic work Watershed: The Death of Dr Duncan will premiere in Melbourne at Arts Centre Melbourne’s Playhouse Theatre. Directed by Australian theatre and opera legend, Neil Armfield, this production is as deeply felt as it is thrillingly physical. Half a century since the infamous drowning of Dr George Ian Ogilvie Duncan, which ultimately led to the decriminalisation of homosexuality in South Australia, Watershed turns the illicit into the sacred, through powerful choral music, solo voices and dance. Through a searing, no-punches-pulled libretto by Helpmann Award-winning playwright Alana Valentine and author Christos Tsiolkas (The Slap) and a luscious, ultimately transcendent score by Brisbane composer Joe Twist, this 5-star, “if I could give it 6 stars, I would” (Limelight), critically acclaimed production captures a significant turning point in Australian history.

21 – 28 November | Playhouse, Arts Centre Melbourne, Tickets from $59

Booking Information
Group and concession prices available for most performances.
Opera Australia Box Office | (03) 9685 3700 | opera.org.au
Explore the season online https://opera.org.au/whats-on/melbourne

 

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‘Aladdin’ by The Victorian State Ballet

Aladdin

Aladdin Rating

★★★★★

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What a privilege to be invited to review the ballet of ALADDIN by Victorian State Ballet company performing at The Palais in St. Kilda, a grande dame of theatres.

Everyone likes to dress up for the ballet! It’s so beautiful to even enter the foyer and watch lots of excitement meeting friends, buying programs before eagerly being shown to seats. A couple of young girls in front of me had their best ‘ballet’ buns in and ballet ‘pink’ clothes on, one with a picture of Princess Jasmin on the front. Their mum obviously equally looking forward to the show, smiling at her children’s joy. I remember those days!

Classical ballet is a very special form of dance. Whether or not these young girls are inspired to become advanced ballet students or simply continue to enjoy the art of ballet in an audience, they’ll never forget coming along to a full length ballet for the first time. (I asked their Mum and her reply was when she had heard it was ‘Aladdin’ she had to take them even though it was a late night because they love the Disney story so much!). After the show they were both skipping, twirling and arabesqueing up the aisle. I wonder if they went to sleep dreaming of either becoming a princess or a ballerina?

Alanna Puddy as Princess Jasmin shines as a principal. Not only is her exceptional technical training at The Queensland Ballet PPY and Australian Conservatoire of Ballet evident, she has the ability to tell this well-known storyline clearly and convincingly. There is often a lot colorfully going on around her and she is completely focused in bringing Jasmin to life within each scene exactly like those girls in the audience expect. They giggled at the cute moment of Jasmin playing cards with Aladdin.

 

 

I never look at who is in the show prior to reviewing, so I am thrilled to see a past school buddy of my daughter’s playing the title role ‘Aladdin’, Michael Scott-Kahans. Michael studied here in Melbourne at VCASS in the full-time dance stream, then went on to train at Tanz Akademie Zurich and European School of Ballet. At 18 he was accepted into a contract with Alberta Ballet in Canada. As Aladdin, from stealing apples to a memorable solo, Michael is superb and his extensive training is highly noticeable. Impressive clean grand jetés and an acrobatic aerial from this guy too!

Tristan Gross as Jafar is excellent. Jafar is an interesting character isn’t he…. scary and calculating. Though in a ballet of course Tristan, as the expert artist he is (formerly of The West Australian Ballet and Royal New Zealand Ballet), has to relay these mindful exasperations of Jafar very differently from those who get to play the role in a musical or movie; only non-verbal expressions – he does very well indeed.

Dancing since he was 5 after commencing at Melbourne Dance Theatre, Daniel Sierra as The Genie is absolutely living the dream and what a lovable role to fill. I have watched Daniel before as a much younger dancer (VSB shows regularly tour to the suburbs and regional areas in Australia). He continues to build a strong presence on stage I recognize and no doubt has an equally strong future ahead of him. It was fun to watch him as Genie.

Belle Thorneycroft (Sapphire) has exceptional poise and elegance.

New Zealander, Courtney Taylor (Ruby) shows passion and an eye for detail right to her fingertips.

Maggie de Koning (Diamond) simply oozes love for this genre she performs outstandingly.

Grace Kefford (Emerald) is graceful and gorgeous.

Felix Milewski (Magic Carpet) loves to perform since his journey began as a child dancer with the Australian Ballet. Though you cannot ‘see’ him as the Magic Carpet, the ‘dancing’ carpet is a feature especially entertaining!

Charlotte Jones (Aladdin’s mother), a very lovely dancer, having been accepted into the prestigious English National Ballet School in London, stood out to me as one upcoming young lady to watch.

There are members in the corps of Victorian State Ballet who are amazing; extensions that defy the definition of flexible and their interactions with each other are suitably staged with spot on timing to create the whole picturesque scenes in very pretty costumes. I particularly liked the castle scene. A+

I overheard many positive comments after the applause finally subsided and I’ll note one in particular:

“was interesting how they changed the lighting to show off the costumes”

I agree, the lighting was used in co-ordination with the costume colours and settings super well!

Every dancer tonight created an impactful connection with their audience to tell the narrative about a poor boy who falls in love with a girl, finds a genie in a bottle, fights off a villain and eventually gets to marry her as a princess (“wedding scene had ‘cool’ drum music” my own daughter reported on way home).

It was magical to see Aladdin as a ballet. Thank-you all!

The Victorian State Ballet is a professional ballet company all ages can go along to enjoy and appreciate the art of ballet at an affordable ticket price, but still with quality and care of remarkable artistic talent.

Congratulations Martin Sierra (Artistic Director) and Michelle Cassar de Sierra (Choreographer & Co-director) and your entire team behind-the-scenes and on/side-stage.

To find out more see www.victorianstateballet.org.au

Instagram: @victorianstateballet

To book tickets to Aladdin, please visit https://www.victorianstateballet.org.au/tickets

Photographer: Sasha Kane

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Tony & Gaga: An Opulent Big Band Experience

Tony & Gaga: An Opulent Big Band Experience

Tony & Gaga: An Opulent Big Band Experience Rating

★★★★★

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Most know the late Tony Bennett and the much younger pop icon, Lady Gaga, who shared a musical partnership and a friendship for decades.  Both were Italian singers with a mutual respect for each other, as well as two collaborative jazz albums. 

After first meeting at the 2011 Robin Hood Foundation gala in New York City, when Bennett told Gaga, “Lady, you are a jazz singer”, later that year Gaga recorded “The Lady Is a Tramp” for Bennett’s Duets II album. 

So successful, they then released the chart-topping jazz record Cheek to Cheek in 2014 and the Cole Porter tribute album Love for Sale in 2021.

What many don’t know is the mutual impact and support they shared revitalized Gaga’s love for music when she was considering quitting the music industry.  Their partnership was that profound.

For the amazing Tony & Gaga tribute show in Melbourne last Friday, acclaimed powerhouse vocalist, Sarah C, (Dancing with the Stars, X Factor) teamed up with debonair Melbourne fashion icon, Dom Bagnato, to sing the unforgettable hits of the American Songbook. 

Arguably, some of the best songs ever produced in our history, some nearly 100 years old, these timeless tunes fit somewhere into our lives emotionally, still today.

When I last reviewed Sarah’s ‘Soul Divas’ show, I met Dom in the audience, excited about doing this new show with Sarah C. 

This had developed when Sarah and Dom had sung together at the birthday of Dom’s daughter when they realised they had some great musical mojo together. Now, the rest is history.

No coincidence, the 20-piece band backing Sarah and Dom on Friday night were named the Mojo Orchestra and, the chemistry between Sarah and Dom with this great band, was an absolute treat to behold.

 

 

Dressed in dinner suits and bow ties, the Mojo Orchestra stage setting was reminiscent of the halcyon days of the Glenn Miller Orchestra.    Mojo had the same musical precision Miller’s band was famous for – when to come in loud and when to pull back – without anyone knowing how they timed that.

The first song of the night, sung by backing singers Cathy Moloney and Julie Kemelfield, was ‘Summertime’, from the musical Porgy and Bess. They were there to warm us up so, we had no idea how opulent our experience was about to be.

I had just flown in Friday morning from a friend’s “007” wedding in Greece and a week in Thailand’s relaxed humidity, straight into Melbourne’s frosty Friday night to do this review, so ‘Summertime’ seemed serendipitous.

I was ready for the warmth of “crooner” tunes, when Musical Director, Peter Foley, introduced us to Sarah C and Dom Bagnato as Gaga and Bennett and their first duet, the classic, ‘The Lady is a Tramp’.  It is a playful song about a woman who hates strict social rules, made famous by singers like Frank Sinatra and Tony Bennett, celebrating being free and real.  What more could one want?

Sarah C, always so glamourous – was wearing a leopard print blazer, diamante brooch and a Fedora hat, the first of her many changes – showed us her vocal versatility with some matching Beebop, (first developed in the 40s by legends like Charlie Parker and Dizzy Gillespie.).

The band sounded romantic and fabulous and the audience couldn’t wait to hear what more was in store for their evening.

Next, Sarah and Dom performed ‘Heaven’ with Sarah’s tone reminiscent of Amy Winehouse, she always sings so brilliantly; followed by ‘Night and Day’, composed by Cole Porter in 1932 for the Broadway musical, Gay Divorcee; and ‘Under my Skin’, also by Cole Porter in 1936 and adopted by Sinatra as one of his signature hits.

Dom bantered happily with our audience like he knew us all personally.

“When I travel, I like to sing, especially this one’, ‘I left my heart in San Francisco’.  He sang a very apt tribute to Tony Bennett, who originally recorded and popularized the song in 1962, when it quickly became Bennett’s signature song. 

Dom then chose the Sinatra hit, ‘The way you look tonight’, originally sung by Fred Astaire and, Mojo’s trombones were exquisite. 

Then, another Sinatra hit with an arrangement by Quincy Jones from 1964, ‘Fly me to the Moon’ – later becoming tied to NASA’s Apollo space missions. 

The Mojo band excelled during this number with their eight saxophones especially synchronised, powerful and melodic.

Sarah C returned to the stage in a long pink satin dress to sing us ‘La Vie ‘en Rose’ (Life in pink), in French.  A wonderful tribute to Edith Piaf’s 1945 version, which later became a hit in the USA in the 50’s.

Next was ‘At Last’, originally recorded by the Glenn Miller Orchestra with vocals by Ray Eberle and Pat Friday in 1941. Most know Etta James’ 1960 soul version. Sarah C’s smoky depth gave us a little mix of both, Sarah taking full advantage of her exquisite 20-piece orchestra at that moment.

The audience was invited to take a break and on return, Dom treated us to a Sinatra and Dean Martin medley: ‘Come fly with me’, ‘All of me’, ‘You’re nobody ‘til somebody loves you’ and finally, ‘My Way’, which Dom sang with all his heart and soul, totally winning over the audience and causing us all to stand and cheer.

Sarah C in her a beautiful, long pink gown, tied in a huge bow – designed by Ella Atkins – paired with a stunning Halo diamante Tiara, sang one of my all-time favourite songs – once recorded by Sammy Davis Junior, John Coltrane, Michael Buble, and, most famously, the irrepressible Nina Simone – the very cool and extremely groovy, ‘I’m feeling good’.

To hear this classic sung by Sarah in an intimate band room, performed live by the magnificent Mojo orchestra, was spine-tingling.

As were the following hits, ‘Orange coloured Sky’ originally by Nat King Cole; ‘My Baby just cares for me’; ‘I get a kick out of you’; Duke Ellington and Ella Fitzgerald’s, ‘Don’t mean a thing if you ‘aint got that swing’ and finally, ‘New York. New York.’

By this time, the audience was singing along loudly and with joy.

Brunswick Ballroom is one of Melbourne’s live music gems. Not only does it host live original and cover bands of every genre on Fridays, Saturdays and Sundays – and some weekdays – on this marvellous night, it opened at 6.30pm for dinner before the show starting at 8.30pm. 

Who doesn’t love a dinner and show?

This was something different – An opulent big band experience, everyone dressed up to the nines in an intimate ballroom, hosting a 20-piece orchestra behind two powerhouse voices, two good friends, who, like the real Tony and Gaga re-igniting these classics, had a camaraderie and talent too good to miss.

A time of chivalry, respect, romance and joy.  Melbourne needs more of this.

Don’t miss your chance to see this great show.  Upcoming dates are:

  • Frankston Arts Centre – Saturday, 5th September, 2026.
  • Birds Basement – Friday, 9th October, 2026.
Booking Link – Sarah C Shows | Glamorous Live Entertainment & Performances | Sarah C sarahc.com.au Image

Mojo Orchestra:

Peter Foley – MD and Trombone

Cathy Moloney – Vocal

Julie Kemelfield – Vocal

Judee Horin – Piano

Doug Foley – Bass

Scott Hurley – Guitar

Paul Grage – Drums

Sean Wheatley – Alto Sax

Tracey Boekel – Alto Sax

Toby Amiel – Alto Sax

Juergen Moews – Tenor Sax

Michael Ruhsam – Tenor Sax

Leonie McNeill – Tenor Sax

Paul McDonald – Tenor Sax

Greg Day – Baritone Sax

Chris Ryan – Trombone

Jamie Grima – Trombone

Linh Du – Trombone

Darcy Neate – Trombone

Dave Melgaard – Trumpet

Leo Dellafiore – Trumpet

Lawrie Barnes – Trumpet

Enrico Bazzani – Trumpet

Andrew Pyrcz – Trumpet

To book tickets to Tony & Gaga: An Opulent Big Band Experience, please visit https://brunswickballroom.com.au/whats-on/.

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Too Much Light Makes The Baby Go Blind

30 Neo-Futurist Plays From Too Much Light Makes The Baby Go Blind (30 Plays In 60 Minutes)

30 Neo-Futurist Plays From Too Much Light Makes The Baby Go Blind (30 Plays In 60 Minutes) Rating

★★★★★

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As soon as we walk in, the game begins. The Lost Theatre Co. cast members mill about the theatre and greet us, wearing black T-shirts emblazoned with their (real) first names – Joshua, Lilian, Jacob, Kaia, Noah and Lisa. We each receive a lanyard with a red/green card and a ‘menu’ of thirty short play titles to choose from. The house lights stay up as they get our attention and begin. We have a role, a responsibility and an immediate sense of comradery.

Too Much Light Makes The Baby Go Blind is a proudly absurd meta theatre game. The aim is to perform all thirty plays on the menu within an hour – once the hour is up, that’s all we get; they’ll stop mid-scene if they must. Audience members call out a number to indicate what play we want to see, it’s performed, then it’s on to the next one. It’s the epitome of controlled chaos.

The ensemble’s confidence, chemistry and enthusiasm absolutely carry the show. Even though all the shows are obviously scripted, there’s a constant feeling of spontaneity, like we’ve walked in on actors messing around while on break. This makes it easy to forgive some weaker performances during the micro-plays themselves, though it would’ve been nice to see more range in the genres and characters within the shows. Still, with thirty distinct plays, it’s almost guaranteed nobody will click with everything, and there were definitely more hits than misses.

 

 

It’s difficult to comment on the show’s writing. The plays move so fast and there’s so many of them that to single out anything feels like either nitpicking or a matter of personal taste. Plus, the tone is so silly that deeper analysis of themes almost feels like missing the point. Even so, the whole premise raises interesting questions about what ‘counts’ as theatre and how much or little time you need to tell a story. These ideas are highlighted in how the actors use the set. The lack of costumes, the simple props and set pieces strewn around seemingly at random and the constant timer on the wall counting down the hour deliberately make it difficult to fully focus on the plays. This could be a drawback for some, but I like that Jay Watts’ direction kept us focused on the gamification of it all, constantly drawing attention to how we as an audience had a huge part to play in the fun.

Consent and safety were clearly priorities for the troupe, and it was impressive how seamlessly they incorporated these essentials into the show. The lanyards we were given let us show either a green or red card to indicate if we wanted to be interacted with, and we were assured we could flip the card at any time, even while the actors were speaking to us. This did happen once or twice, and they kept their word, stopping immediately and moving on to somebody else. There were content warnings on the menu, but on the other side from the titles so we could be surprised if we wanted to. The instructions they gave to participants were snappy and clear, and they rolled equally well with awkwardness and enthusiasm from the audience. Overall, it’s probably the best handling of audience interaction that I’ve ever seen; whether your card’s green or red, it’s so fun to watch and play along.

Although we didn’t win the game (we got close but had to stop in the middle of the thirtieth play), there wasn’t any sense of disappointment or missing out. If anything, the lack of closure felt appropriate. If you enjoy the fresh frenetic energy of improv, theatre about theatre and/or being involved in the unfolding action, this is definitely the show for you. And if anything about the audience participation seems daunting, don’t worry. You’re in good hands and no matter which plays you do or don’t see, you’re in for a great time.

To book tickets to 30 Neo-Futurist Plays From Too Much Light Makes The Baby Go Blind (30 Plays In 60 Minutes), please visit https://www.losttheatreco.com/.

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