Under 35s can dip their toe into the world of opera with major ticket discounts and a sneak peek behind the curtain at Opera Australia’s (OA) new production of La Bohème when it premieres at the Regent Theatre, Melbourne this November.
Members of OA’s Under 35s program can enter a ballot for tickets starting at $49 and an exclusive behind-the-scenes tour for an exciting window into the costumes, sets and preparation needed to get a grand scale opera up on stage each night.
Since the program began in 2024, more than 10,000 members have signed up for access to discounted tickets and exclusive events, giving the opera curious an opportunity to learn more about the artform and the company.
OA’s Director of Opera Amy Lane said “One of the most exciting and important parts of my role at Opera Australia, is helping to create opportunities for new audiences to discover the magic of opera. This production of La Bohème is a brilliant example of how spell-binding and all-encompassing opera can be – from the sublime music performed by some of our finest singers and musicians to the stunning design of its hand-crafted sets, prop and costumes.
“It’s imperative to make this experience more accessible to young audiences and it is always such a joy to be able to share this incredible artform with people for the first time.”
La Bohème is one of the world’s most famous operas and this brand-new production by visionary Australian director Constantine Costi is a luscious, painting inspired work, set in a snow-kissed Paris where one of the great tragic love stories unfolds amongst beautifully crafted costumes, hand-painted set pieces and performed by some of OA’s finest singers.
The ballot is open until Wednesday 21 October with 100 discounted tickets and behind-the-scenes experiences up for grabs. A-reserve tickets available at $99 with B, C and D-reserve $49 each.
La Bohème premieres at the Regent Theatre, Melbourne from 7-18 November.
Under 35s La Bohème Performance Information
Regent Theatre, Melbourne
10 & 11 November, 6pm
$49 B to D Reserve
$99 Premium and A Reserve
Tickets available via ballot for members of the Opera Australia Under 35s program.
Ballot closes Wednesday 21 October.
Bookings
Opera Australia Box Office
(03) 9685 3700
www.opera.org.au
As I enter the Studio Theatre at Gasworks, I am taken in by a solemn scene. A lonesome soul named Steve, wearing a grey jumper and black shorts. Sitting on a plastic beach chair, he is lifting hand weights, doing his daily exercise. He is in an outside area, in between two doors of flats, labelled 32 on the left and 33 on the right. To the right and left of the flat doors? Are miscellaneous shelves and empty pots. Framed by colourful crates. Empty surfaces seeking company. Like potted plants, real or fake. Op shop knick-knacks. Just so one can create a soothing, outdoor living space for themselves.
Or something resembling security. Stability. Consistency …
A safe home environment.
I quickly learn that I am witnessing the lives of those living in emergency government housing. I also learn that nearby, lie the Melbourne docks. From which I gather, the coloured crates may come from. For they are used as makeshift tables here, for neighbours to gather and mingle. To share cups of coffee and biscuits. To connect. To feel wanted, loved and cared for.
At least for a while.
Until it’s time to get back on their feet, and continue on their journeys.
So it is here where we meet three tenants in this said housing block.
Steve, 36, believably-played by Nick Steain, is a gruff Queenslander from Townsville, who has just gotten out of jail four months prior. He longs to head back up to his old FIFO mining job in the sunny north – so he can continue to fly in and out – free from being tied down to any kind of stable existence.
Then we meet Belle, Steve’s missus, a gripping performance by Natasha Broadstock, a mature woman he has been seeing for the last four months since his arrival. Belle has been living in public housing for six years, works at an op shop and knows the etiquette of living in public housing. She is a survivor with a huge heart. She also has had it rough, having wasted many years looking for love, but with abusive men. But her resolve remains hopeful and strong. Hence, she always looks ‘on the bright side’. She makes a great effort to connect and be kind and nurturing to new neighbours who call this place home. Yet, she can be very vulnerable, fearing being abandoned once again.
And finally, there is Jon, a teenage runaway, a convincing and emotionally- giving performance by Tom Purcell, who loves his black ‘Cash’ jumper and lives next door to Steve in Flat 32. We learn that Jon’s parents weren’t stable caregivers, so he truly craves a stable home, where he can feel heard, understood, loved and cared for. Deep down, he longs to connect and feel peace and love from a caregiver. Since this is what he deeply lacked growing up.
The relationship of this trio formulates its own kind of system, thanks to the brilliant direction of Carl Whiteside. Belle urges Steve to connect with newcomer Jon, and helps him feel at home by bringing him plants and garden knick-knacks from the op shop. Within a few weeks, Steve and Jon do connect, and Steve builds a joint laundry line that he and Jon can both share together. Jon gives Steve some of Belle’s plants for him to put in his garden too.
Music works well to help drive the action and transitions of scenes. There is ominous music where there is tension; happy upbeat music when there is harmony; and playful, pink panther-like music when Jon speaks back home late at night from drinking with his mates.
Belle, however, learns she is pregnant. This causes a rift between her and Steve, and he tells her that he had been in jail for the last two years. That he longs to be a FIFO again up north, and has never thought of having kids. Feeling that he is not in the same page as her, she grows desperate to pin him down. She doesn’t want to hear the word ‘no’ from him. He relents and agrees to stay and accept a job instead as a mechanic at the docks.
What’s interesting is the harmony that is forming between this trio. Steve and Belle are becoming the caretakers of Jon, and planning the arrival of their baby. Jon is feeling cared for. He is putting his life back together by working in a warehouse and making friends. Their relationships are building. Things are looking up. Belle is stopping work. Steve has bought a new pram, and promises to finish his mechanics course.
That is, until a letter arrives: that they must vacate the premises in two weeks and relocate elsewhere, as their emergency housing estate will soon be demolished.
Conflicts arise. The fear of instability once again on all fronts. The stress of being homeless. Of lacking employment. As such, these three are forced to go in different directions, just in order to survive.
They are forced to look at themselves, and their true wants and needs, in order to live a future they can be proud of. Even if it means doing it on their own terms.
Even if it means losing the ones they love in the process.
For unlike the steady and stable survival of plants that feature greatly in this work; a safe life for many, is not always guaranteed in this world.
Moreover, this heartwarming production, written by Ros Varley, teaches and educates us about what home and safety can truly mean for us in the modern world.
That home can mean many things to many people. It can be found in human connection. It can be found in self-acceptance. Or, it can be found in knowing our own truth, and loving ourselves because of it.
This is a very important show to see right now, and it has the power to touch the hearts of many. Highly-recommended as part of the Melbourne Fringe.
COME FROM AWAY is of a topic no-one could’ve ever guessed would become that of an upbeat musical when faced with the reality of what was happening when it was happening on September 11, 2001. Everyone who is old enough to remember this day would be able to tell you where they were and what they were doing when they heard the news of the Twin Towers’ attack in New York.
For people on planes around the US at that time on that shocking day something unprecedented would occur. All air traffic would be halted and suspended until further notice, including those in the air re-routed to the nearest safe landing space regardless of whether or not it was near their final destination. They would land. They would wait.
However, don’t wait for tickets to see what happened next: https://nationaltheatre.org.au/come-from-away/
In the small town of Gander, Newfoundland, the once largest airport in the world remained. Though no longer the major re-fueling hub it was since long-range aircraft took to the skies, on 9/11 this runway would become the landing designated for 38 commercial planes holding 7000 passengers from 92 countries (and some animals including a pregnant bonobo chimpanzee).
These passengers would land on “The Rock”, so called because it is a lump of stone in the middle of the North Atlantic. The locals of Gander hurry to find supplies and a way to host thousands of unexpected guests. They work voluntarily around the clock. The passengers would be let off the planes with only their carry-on luggage, having no idea where they were or why they were there. A scary situation on both sides (and someone must take care of the animals).
As the entertaining locals at Gander take turns to introduce themselves to us in the audience, we are made to feel as welcome as those on the planes would have been. The team at CLOC and those they cast in such important roles have a natural ability to draw in everyone sitting in front of them.
A stellar cast is testament to “there are no amateurs here”. True! All roles are filled by extremely talented individuals deep breathing life into their characters so well that you wish you had been privy to their stories long before now. No-one holds anything back in the honour of telling this story. I am sure that many of the sadder moments are felt internally and not just by excellent acting. Come From Away sums up the fact that humans are mostly good. Good people doing good things, because they believe “you would’ve done the same”.
Terrorist tragedy is what we think of when we recall 9/11 and I expect this show therefore to be full of crying and yelling, but it isn’t. It is more, full of joy and humanity at its best. The world watched on in horror that day, but on ‘the rock’ something incredible was evolving – people in a dire situation pulling together, dealing with each challenge as best they could.
Will they have enough food, enough clothes, enough nappies, enough tampons and will they be able to get the toilets cleaned to a sanitary level approved by the group of sexy cardiologists on board?
I cannot single out a particular cast member from the 12 in this show practically on stage the whole time through both tears and smiles. They are all just as outstanding in their role as the next person and not only play their main character, but others also whilst moving chairs, changing costumes and layering accent upon accent.
When you read the program you learn all about cast members and what this lot have done in “other shows” is extensive to say the least. So, when you put that much talent and experience together you get a very well executed undeniable WOW right down to the finer details mentioned in the script and the body language that goes with those words.
Set design is simple with a revolving stage circle in the centre working perfectly and adds that little bit extra with well-timed lighting and an orchestra that makes the whole thing come alive for 100 minutes, no interval.
My favourite number was the bar scene, amp up the fun and include some fish kissing and the audience is in total awe. No wonder CLOC is restaging the show for the second time in two years and still selling out seats to commemorate the 25th anniversary of 9/11. I had heard of the hype around Come From Away before, but until you actually go and see it yourself you cannot possibly imagine just how fantastic it is. Patrons I know are returning to see Come From Away a second and third time.
9/11 changed the world. COME FROM AWAY changed what can be put into a musical.
Book, Music and Lyrics by Irene Sankoff and David Hein.
CONGRATULATIONS to everyone who pulled this off the runway and ran with it!
Directors: Rob Robson and Tailem Tynan Musical Director: Malcom Huddle Creative Team: Sally Martin (set), Jason Lord (lighting), Marcello Lo Ricco (sound), Samantha Gore (costume), David Clausen-Wisken (hair & make-up), Bek McLaughlin (stage), Grant Alley OAM (technical), Paul Belli (stage), Alannah Woods (production), Lisa Nightingale (company), Taylor Prokopiou (costume), Pam Christie Birkett (props).
CAST: Natasha Bassett as Beulah, Elyse Batson as Bonnie, Ric Birkett as Claude, Shaun Kingma as Oz, Jacqui McCallum as Diane, Rosa McCarty as Beverley/Annette, Hayley Nissen as Janice, Jayson Paul as Bob, Richard Perdriau as Nick/Doug, Shane Pritchardas Kevin J/Ali, Nic Russ as Kevin T, Sharon Wills as Hannah. Note: All cast members play other (multiple) roles.
ORCHESTRA: Malcolm Huddle (Conductor), Greg Leibel, Thomas English, Eugenie Lyons, Charlie Wood, Marty King, Adrian Close, Sophie Barker, James Ward, Ali Soebardi, Nathan Firmin.
VENUE: National Theatre, 20 Carlisle St., St Kilda, Melbourne. I always cover park at paid-parking a short walk away at Acland Court Shopping Centre, but there is street and outside car parks around the area and a number of close restaurants.
More information: www.cloc.org.au COME FROM AWAY is playing until 24 October 2026.
Is it a bird? Is it a plane? No! It’s Pride and Prejudice: Pemberley Drift! A motor-raising, horse-racing, carriage-riding cinematic escapade! Think Pride & Prejudice meets Fast and the Furious. There are horses with funny names. Ladies-in-waiting. Villainous schemes. Undercover informants. And plenty of equine madness to set your screens aflame!
And how, you ask, does this fringe production of movie-going madness begin its beguine?
Well, it all starts with Christopher Nolan, it seems.
For the tale of ‘Pride and Prejudice: Pemberley Drift’, is an unfolding saga borne not of English-pedigree, but at a Universal Studios lot in Hollywood. Where four madcap, cinematic -hungry executives are desperately trying to come up with a quick and easy ‘remake movie’ pitch to soon present to leading filmmaker Christopher Nolan, known for his male-centric, Hollywood Blockbusters.
But seeing as they are in a mad rush, their minds and temperaments go a bit haywire. There is infighting, bickering and squabbling. And, we discover, a bit of a boo-boo blunder, when an email is misread by the corporate brand manager in charge of advertising.
For instead of reading ‘P&P’, meaning ‘Pride and Prejudice’, he misreads it as ‘F&F’, for ‘Fast and the Furious’, and chaos ensues. These two movies are polar-opposites to one another! Two completely different genres! All the revved-up car product placement advertising has gone ahead. Million dollar deals are now set-in-stone. With a view to toppling the competition (Paramount Pictures) and make cinematic, money-making history.
What’s a studio to do when time is ticking?
Create a movie franchise mashup, that’s what!
And what better way to do it? Then on the fly!
Dear lord.
And so, we voyage through a side-splitting hour of slapstick stops-and-starts, including a brilliant opening sequence featuring a held-up globe as planet earth, a raised UNIVERSAL sign, and four actors screeching the famous universal orchestral score, with added cadence at the end.
And pretty soon, we are being treated to a night of pure comedy gold: where Jane Austen meets Vin Diesel, and revved -up horses are named Honda, Jeep, Ferrari, Ford and Chevrolet. Where drifting is-the-new-black in an Austen-esque world: with slo-mo cinematic stickhorses, with grit-infused, gravity-defying riding skills.
In between patches of side-splitting Tinseltown shoptalk, we are introduced to a slew of willy-nilly characters.
Catherine Beaumont, the eldest of 15 siblings, is sent by her worried mother to visit her cousin Fitzwilliam Darcy and his wife Elizabeth (Nee Bennett)at their Pemberley estate for the summer, to see if Catherine can win herself a respectable suitor.
But love is hard to come by, for Catherine, much like her cousin Elizabeth before her, is not so easy to win over. That is, until she meets charming, chief-wrangling stablehand (or is he really?) Ambrose at night while visiting the stables. For which she wagers a competitive ride on a horse-stick – though never ridden a horse. He then lets her down off the horse gracefully, and manages to take her along to an illegal horse-racing game, where horses are wagered and money is made. There, we meet Emma Woodhouse, an equestrian Queen. (Or is she really?) Who trains Catherine on how to be a true Equestrian Drifter. Where horse sticks are used as weapons, with slow-motion, matrix-style action moves. Where Emma, we learn, is really an undercover informant, investigating fraudulent money-laundering from certain Pendlebury land owners. We also work out that and Ambrose is really EK, known around town as an ‘Equestrian King’, who may have something to do with a particular criminal activity as well – organised by his delightfully villainous uncle, Mr. Collins, who we learn, is the grand enemy of Darcy.
As I said, this plot moves quickly, and delightfully so.
This show also has four truly talented actors and writers that nail every role.
Noah Sargent, doubling as the executive ad man and Ambrose (aka EK) is larger-than-life with a Farrell-like quality, true to his convictions and moving the story forward from beginning to end with boundless ease.
Lisa Baker, as innocent, quick-witted Catherine, plays her period role to-a-t, moving the plot along with a charming period-like English accent and prim and proper mannerisms that she brings seamlessly to the audience.
Jay Watts plays multiple roles, including those of Elizabeth Bennett and Emma Woodhouse very well. Yet, I found she shone her best when playing a weathered-down, sarcastically-mouthed Hollywood executive having marriage troubles. To which the audience laughed and found equally hilarious.
But Adam Forgione – by far, was my absolute favourite as Mr. Collins, a bond-like villain with a foreign accent we’ve heard repeatedly through that franchise. Every articulation was precise, every mannerism so underhandedly evil in nature, yet his character’s origins? Elusive and unprintable. Just how we like it.
Largely Austen-eque, with a bit of fury thrown in, alls-well-that-ends well for this high-impact, box-office hit. My love for stick-horses has made a dramatic comeback, as has my absolute delight for bond-like megalomaniacs, complete with prize-winning, patrician-like purring.
Ultimately, this show wins a race of its own – to take my heart over completely.
If you’re in the mood for an original, laugh-out-loud, rollercoaster ride of hilarious improv, kitschy period films, horse-hopping stunts and cliched entanglements, then this is a show I’d definitely recommend for audiences this Melbourne fringe season.
