Co-Opera. The Vine Shed Venue & Cellar Door. 5 Nov 2025
Franz Lehár’s operetta The Merry Widow premiered in Vienna in 1905 and has never really left the stage. It has been performed almost countless times and remains a favourite to this day. Regardless of one’s background – opera lover, opera hater, opera curious, or opera agnostic – everyone has heard the opera’s showstopper, Vilja, o Vilja and likely enjoys its wistfulness and glorious melody. But the show has much more to offer; it explores gender and power dynamics, and is ripe for re-imagination to bring it into a more contemporary context. This is exactly what Co-Opera and director Macintyre Howie-Reeves have done with their current production: they have lifted it out of its original milieu of belle époque embassy glitz into the cut and thrust and casting-couch politics of the golden age of Hollywood (which is ostensibly more accessible to someone today!).
In the original version of The Merry Widow, the action takes place in the fictional Balkan state of Pontevedro, which is facing national bankruptcy. Its salvation lies in the absurd notion of ensuring that its richest widow, Hanna Glawari, marries a fellow countryman so that her fortune doesn’t leave the country. (But perhaps it’s not totally odd ball. Even today, the futures of nations are in the hands of ‘eccentric’ individuals!) To solve the problem, Pontevedro’s embassy in Paris, led by Baron Zeta, hatches a plan: the dashing Count Danilo Danilovitsch must woo Hanna, but there’s a snag to overcome. Danilo and Hanna were once in love, but their pride – and her fortune – came between them. There are side plots involving playful wives, and ruthless diplomats, but it all turns out for the best! So, how does this translate over into Howie-Reeves’ scheme to ‘update’ the opera?
Reimagining operas is an oft discussed topic, and there are many examples of where it has gone horribly wrong or, conversely, really hit the mark! For this reviewer, setting Strauss’ Salome in a slaughterhouse and Verdi’s Otello on the decks of an aircraft carrier are clear (local) examples of the former, and setting Mozart’s The Magic Flute in a subway and example of the latter! Co-Opera’s relocation of The Merry Widow to a Hollywood studio is a risk, but in the main it works. The trick for a modern audience is not to play the opera too earnestly, otherwise it risks becoming a museum piece with only a few favourite arias surviving (such as Vilja, o Vilja). Also, if it’s over-modernised it can lose its grace and the charm (and political edge) that drives it. The sweet spot lies in recognising there is a fine line between being sincere as well as self-aware. What doesn’t work in Macintyre Howie-Reeves reimagining is the juxtaposition of American accents (in the spoken dialogue) with so-called Mid-Atlantic accents in the arias and ensemble numbers. They jar, but this is a minor grizzle!
At the centre of The Merry Widow stands Hanna Glawari, whose fortune and independence make her both an object of desire and a figure of threat. Hanna is played by Jessica Mills who gives the role wit and warm-heartedness with a dose of subversion. Mills’ Hanna is confident and knows her worth. Mills has a soaring soprano voice that at times overpowers the gentle lyricism of the music and introspection of the libretto. Mills looks the part, and the term ‘power dressing’ comes to mind as she sports costumes that give her a sharp silhouette and a commanding presence. Mills also choregraphed the production and the movement of cast members around the simple set was natural and unfussed.
Hanna’s foil is Count Danilo, who is superbly played by Mark Oates. He gives Danilo a world-weary air who tries to hide his tenderness behind cynicism and booze. The scenes in which Mills and Oates spar are highlights; they tip-toe and posture trying to find a chink in each other’s vulnerable exteriors. It’s a joy to watch, and it’s an even bigger joy to hear Oates sing the role. He does this style of libretto and music so very well, and his strutting performance of Danilo’s alcohol-soaked hymn to Parisian nightlife Da geh’ ich zu Maxim is an object lesson in understatement and comic timing.
Baron Zeta is played by Christian Evans who effectively portrays bluster and rakish confidence. His wife, Valencienne, is performed by Emma Kavanagh who gives the role the requisite coquettishness as she shamelessly flirts with Camille de Rosillon, who is handsomely played and nicely sung by Jiacheng Ding. They imbue their romantic behaviour with a hint of adolescent urgency as well as brazen infidelity. Together, Kavanagh and Ding provide a comic contrast to Hanna and Danilo’s more mature affection.
The cast is rounded out by David Visentin as St Brioch/ Kromov, James Nicholson as Cascada/ Bogdanovitch, and Vanessa lee Shirly as Njegus who all bring wit and humour to everything they do. Nicholson almost scene-steals on every occasion! The ballroom scene in which his dance partner is represented by an (empty!) dress is a total hoot! (It should be noted that in this touring production, five of the named roles are played by an alternate cast.)
The chorus numbers, for which The Merry Widow is well known, are augmented by a tuneful “community choir” of nine choristers. They were expertly conducted by Brian Chatterton OAM and greatly added to the charm of the performance.
The singing throughout is enjoyable, and the ensemble work is polished. Nothing is syrupy. The cavernous ambience of The Vine Shed challenged some of the singers and when they ‘reached’ there was occasionally tension in their voices. The musical accompaniment was provided by pianist/musical director Joseph Ingram who was just fabulous. He truly understands what it means to be a collaborative artist: he never competed with the singers; he facilitated them to bring out their best. Bravo, and what a physical work-out it must have been for him!
Being a touring company Co-Opera suffices itself with a simple set that is representational and suggestive. But that didn’t stop a few surprises being thrown in for good effect. There is nothing more than is needed, and the acting chops of the performers nicely fill in the gaps.
The audience was never in doubt about the nature of the setting of each scene. After all, it’s all about fuelling the imagination, and speaking of ‘fuel’, this performance was also catered for by the venue with delicious wines and tasty grazing plates and wood-fired artisan pizzas being available to the hungry audience. This of course adds to the duration of the event, and the whole thing ran for nearly four-and-one-half hours. The large and capacity audience certainly got their money’s worth, which is a hallmark of Co-Opera productions.
Kym Clayton
When: 5 to 9 Nov
Where: Various Venues - touring
Bookings: co-opera.com.au
