"...the original Bohemian love story... the opera that inspired Moulin Rouge! and Rent".
That's how Opera Australia's promotional trailer announces the 2024 touring production of La Bohème and, indeed, as you lay eyes on the set with its mismatched kitchen chairs, tattered couch, plastic milk crates and exposed lighting rig, you could be convinced that you were about to see a production of Rent. Director Dean Bryant has taken the classic story and imbued a funky 1970s vibe, embracing an era even more colourful than Rent's setting. The humour, pathos and energy of Puccini's work are heightened beautifully by the shift in the period, and the authenticity of the newly imagined 1970s Momus is a credit to the detail of Isabel Hudson's sets and costumes and the nuanced lighting design of Damien Cooper.
There is a timelessness to La Bohème's story of love and tragedy; however, the creative team was not content with relying on the narrative and the altered setting to engage their audience. Rather, carefully placed pop-culture references, physical comedy and an unobtrusive LED screen with lyric translations allowed even the least experienced opera audience member to understand the journey of the characters and appreciate the beauty of Puccini's work.
Clever creative choices are important, but more significantly, Opera Australia has put together a talented cast that delivers impeccably emotive performances. Throughout the tour, the cast alternates between lead and ensemble roles, creating what seems to be a tight-knit cast that knows the production intimately and works together seamlessly to create meaningful chemistry on stage through song, movement and humour.
For the performance at Parramatta Riverside Theatre, Nick Kirkup and Maia Andrews presented the central love story, portraying Rodolfo and Mimi with gentleness and pathos. Jane Magão's Musetta was perfectly fiery and mischievous, although the true champions of mischief and wit were Daniel Ott (Schaunard) and Eddie Muliaumaseali'i (Colline). These actors matched soaring vocals with witty banter and physical comedy but were not limited to the potential stereotype of their respective characters, as each was able to stretch to the full breadth of emotion that La Bohème requires, bringing a heartbreaking realism to the emotional final Act. For me, however, the standout performer was Benjamin Del Borrello. Del Borrello's portrayal of Marcello was mesmerising. His confident presence and commanding baritone voice perfectly captured the persona of the tortured artist.
Adding to the charm of the production was the inclusion of the children's chorus. Through Opera Australia's Regional Children's Chorus program, local children are trained in their songs and scenes and perform alongside the professional cast. So, it was lovely to see some familiar faces of young performers from the Parramatta area at Saturday's performance. This is a wonderful initiative and further reflects Opera Australia's commitment to bringing the wonder and beauty of opera to a broader audience.
With only a few more performances left on this tour, it may be tricky for you to see this fantastic production. However, if you enjoy theatre and appreciate the emotional journey of a well-crafted story, keep an eye out for Opera Australia's future productions.
Photos courtesy of Jeff Busby
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