Lighter operas are a great gateway to the medium for new audiences. Add to that the quirky, camp Bavarian duo – magicians Siegfried and Roy of Las Vegas fame – and you have a production that is a sure winner for starters.
The world premiere of this ‘unauthorised’ tale, is all heart, humour and human flaws, delivered across a pacey 90-minute show. Think of it as a fusion of musical theatre’s pizazz and operatic tragedy coupled with Sydney Gay and Lesbian Mardi Gras.
Created by Luke Di Somma (composer, librettist and conductor) and Constantine Costi’s (librettist and direction), this opera steps behind the caped, sequined bling of Siegfried and Roy, and looks at their personal tale – a real rags-to-riches story, replete with parental abuse, ambition, drug addiction and infidelity, to an increasingly toxic relationship and their eventual de-throning with Roy famously mauled onstage by his much beloved white tiger, Mantacore – and its hushed warning of the perils of exploiting nature.
It is a lot of territory to cover, and Costi and Di Somma manage to keep it light and tight – arguably a little too light and slapstick, if their aim was to cut through the hype and mockery around the showbiz pair and elevate them to more serious conversation.
The opera is bookended by Roy’s 60th birthday party, and in between, maps out their meteoric rise from their Lederhosen-wearing days in Barvaria, to meeting while working on a cruise ship in 1957, their Royal Command Performance in Monaco in 1966 (where Mantacore leaps onto Princess Grace in a make-or-break moment), followed by their legendary Vegas days.
At each moment, the liberetto and musical styles evolve, hinting at everything from Barvarian folk to Berlin cabaret, and eventually, big brass showbiz.
This centerstage alchemy is assisted by the incredible costumes of Tim Chappel, who has dressed the core cast in the ostentatious kitsch of their heyday, and with attention to detail such as a diamente gurney and walking stick for Roy after he is injured.
In many ways Mantacore, brought to life by puppeteers Thomas Remaili and Kirby Myers, is the star of this show, and is even given a voice (and agency) towards the end by counter-tenor Russell Harcourt, who sings the haunting words, “you’ve taken me for granted”.
I would have liked to have seen more of these deeper, darker narratives that often underlie fame – and connect more strongly with contemporary audiences – rather than the production falling back on romps in bed that felt too comical, and an easy option to get this show across the line.
Musically, baritone Christopher Tonkin (magician Siegfried Fischbacher) and tenor Kanen Breen (tiger trainer Roy Horn) had great rapport and vocal balance and held up the production. Their clear expression, sincerity and dramatic delivery made for a thoroughly enjoyable portrayal. No matter how absurd their characters are in certain moments, from oom-pah-pah songs to fashion tragics and sex fiends, they held their characters, perhaps more so than their notes.
Tonkin’s sensitive song, ‘What Magic is This?’, sung to express that his love extended from stage magic to Roy, is a highlight, while later in the production some of his solo pieces fail to deliver at the same level.
Breen, on first arriving in Vegas, captures Roy’s vulnerability, singing, “Land of the free, free to be me”.
The pair are supported by an ensemble cast of Danielle Bavli, Russell Harcourt, Louis Hurley and Simon Lobelson, who collectively portray various character pastiches from across Siegfried and Roy’s career. A highlight is soprano Cathy-Di Zhang, who does a fantastic job as Nancy White/Lynette Chappel (Siegfried’s assistant) who is sawn in half onstage – without missing a note – thanks to magic consultant Adam Mada, who made the most of this lo-fi environment for illusions.
That lo-fi environment worked well in the hands of designer Pip Runciman, who turned Sydney Theatre Company’s Wharf 1 Theatre into a Vegas-style cabaret lounge, with intimately lit tables, splashy chandeliers, a side bar and a catwalk-like stage. The orchestra is place back of stage, behind drapes and under a proscenium arch, which pays a nod to the real Siegfried and Roy’s staging at Las Vegas venue The Mirage.
Overall, this new production – commissioned, produced and presented by Sydney Festival, and supported by Opera Australia – will be a favourite with audiences as it is unquestionably fun, and funny. However, it bows a little too much to the slapstick, rather than liberating this story from the clichés of bedazzled bling and Las Vegas camp.
There is so much darkness in Siegfried and Roy’s story that has currency – from childhood abuse and animal exploitation to gendered power structures (thr pair spoke little of their relationship publicly, almost self-censoring). I would have liked a little more balance to round out this otherwise enjoyable production.
Siegfried & Roy: The Unauthorised Opera
Commissioned, produced and presented by Sydney Festival
Composer: Luke Di Somma
Libretto: Luke Di Somma and Constantine Costi
Director: Constantine Costi
Conductor: Luke Di Somma
Costume Designer: Tim Chappel
Set Designer: Pip Runciman
Sound Designer: Michael Waters
Lighting Designer: Damien Cooper
Magic Consultant: Adam Mada
Puppet Design and Production: Erth Visual & Physical Inc
Movement Director: Shannon Burns
Creative Producer: Oliva Ansell
Associate Producer: LPD Productions
Cast: Christopher Tonkin, Kanen Breen, Cathy-Di Zhang, Simon Lobelson, Louis Hurley,
Danielle Bavli, Russell Harcourt, Thomas Remali and Kirby Myers
Sydney Theatre Company, Wharf 1 Theatre
10-25 January 2025
Tickets: $80 – $129
