Melbourne Opera Company honoured the 100th anniversary of Giacomo Puccini’s death with their lively new production of the romantic classic, La Bohème.
As we take our seats, we delight in noticing that the Melbourne Orchestra is packed in so tight that the harpist is forced to sit outside the orchestra pit’s stage-left side door – all the better to soak up this delectable score which infuses this love story with an undercurrent of slowly escalating pathos. As Mimì, Elena Xanthoudakis’ arias gently unfurl like delicate suspended moments – especially Act 1’s Sì. Mi chiamano Mimì and Act 3’s Donde lieta usci.
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To relocate this opera’s action from 1830s Paris to Melbourne – the Paris End of Collins Street, perhaps? – set designers Jacob Battista and Sophie Woodward include Flinders Street Station and the famous Skipping Girl Vinegar sign within the city skyline we view through the bohemian’s garret window.
The bohemian friend group’s chemistry is authentic, which immediately draws us in. As painter Marcello, who opens Act 1 alongside Rodolfo (Boyd Owen), Christopher Tonkin is charismatic with a dash of Robert Downey Jr. This intimate setting allows performers to hold eye contact with audience members, which they routinely do to great effect.
When the house curtain opens for Act 2, the Athenaeum Theatre’s stage bursts with vibrancy thanks to the elaborate, split-level set and stacked Melbourne Opera Chorus, talented children and all. Wherever we look, the performers are animated and remain totally in character.
Director Gary Abrahams sure knows how to milk a comedic moment (especially that well-timed champagne bottle pop during Musetta’s risqué number in Act 2) and these mirthful scenes pepper La Bohème’s overall tragedy with extra bittersweetness. Even though the majority of audience members know it’ll end in tears, this production’s final moments are handled in a fresh way as our eyes are expertly guided by the onstage movement.
Bravo all ‘round.
La Bohème plays until 24 September at the Athenaeum Theatre.
