REVIEW: Orpheus & Eurydice at Regent Theatre, Melbourne

Review by Jesse Oey

Forget everything you think you know about two of Ancient Greece’s most famous star-crossed lovers. From the moment the curtain rises, it’s clear the audience is in for a spectacular, jaw-dropping evening.

Created by Opera Queensland in association with Circa, this thrilling production of ‘Orpheus & Eurydice’ opens at Melbourne’s iconic Regent Theatre as part of Opera Australia’s 2025 Melbourne Season. With artistic director and designer Yaron Lifschitz at the helm, it reimagines Christoph Willibald Gluck’s timeless 18^th-century masterpiece into a boundary-pushing blend of music, movement, and magic.

The story at its core is a familiar tale to many: famed musician Orpheus wakes up after the sudden death of his beloved wife Eurydice. Consumed by grief, he descends into the Underworld to search for her. After charming the realm’s many phantasmal creatures with his songs, he strikes a deal with Amore, the God of Love, to rescue her, with one simple, yet seemingly-impossible condition: he can’t look at her until they both return to the mortal world.

At the centre are two outstanding leads, supported by an excellent vocal showing from the Opera Australia Chorus. British countertenor Iestyn Davies shimmers with emotional depth as Orpheus, his soaring voice palpable with anguish and grief in conveying his character’s torment. Opposite Davies, Australian soprano Samantha Clarke shines in her dual role as Eurydice and Amore, her crystalline tone and graceful poise underscoring her confident command of the stage.

Under the leadership of Conductor Dane Lam, Orchestra Victoria’s dazzling precision provides a musical foundation that melds effortlessly into the narrative, weaving voice and orchestra into a melodious, unified expression.

Lifschitz’s dramatic vision comes to life in a meticulously-executed, genre-defying blend of opera theatrics, stunning staging, and circus artistry. Set against a minimalist, monochrome backdrop, The Circa ensemble of aerialists and acrobatic gymnasts weave themselves seamlessly into the narrative, their bodies twisting and leaping in sync with the characters’ internal turmoil, visualising their physical and emotional struggles as they grapple with the choices before them.

Precisely choreographed by Lifschitz, Bridie Hooper and the Circa Ensemble, these spectacular gravity-defying feats heighten the story’s emotional stakes: manifesting the menacing terror of the Furies, the soothing tranquillity of Elysium, and the visceral chaos inside Orpheus’ mind as he slowly spirals into madness. Everyone in the audience was utterly captivated, breathless, at the edge of their seats.

Costume designer Libby McDonnell delivers sharp, captivating silhouettes that perfectly accentuate the performers’ movements; focusing on bold, striking combinations of black, beige and red that help convey the intensity of each scene. Alexander Berlage’s ethereal lighting design and Boris Bagattini’s dynamic projections work together harmoniously, immersing the audience into the eerie mythical worlds of Hades and Elysium without clutter.

This remarkable performance builds up to a shattering climax. When Orpheus inevitably fails his mission and dislocates further from reality, his grief culminates in a harrowing rendition of the iconic ‘Che farò senza Euridice?’ – sung immaculately by Davies. Eurydice’s demise is staged with a devastating abruptness, plunging into a haunting mix of celebration and mourning that transforms into a surreal, dreamlike conclusion.

An ambitious, profound reimagining of Gluck’s enduring score, ‘Orpheus & Eurydice’ succeeds in combining classic opera charm with cutting-edge design and trailblazing circus artistry. Opera Australia has once again delivered a first-class production of a timeless classic with a contemporary twist - opera reimagined for the 21^st century audience. A must‑see for any theatre or opera enthusiast, looking to be utterly mesmerised.

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