Review: The Merry Widow at Sydney Opera House

Review by Michelle Sutton 

Opera Australia’s production of The Merry Widow is a dazzling spectacle of romance, grandeur and escapism. Playing at the Joan Sutherland Theatre at the Sydney Opera House, the musical is a lavish affair and sure to be enjoyable for all audiences, even those not yet fully converted to the world of opera. The operetta composed by Franz Lehár was first performed in 1905 and has enjoyed worldwide success and adoration since its debut. In the story the fate of the nation of Pontevedro rests upon the shoulders of Hannah Galvari, who must remarry to keep her late husband’s wealth in the struggling country’s economy. 

Julie Lea Goodwin is incandescent as the lead of the production, playing the titular character the rich widow herself, Hannah Galvari. She stuns in the Second Act “Vilja Song” with her soaring soprano vocal performance. Goodwin commands the stage every second she is on it and never once gets lost in the sequins, tutus and magnitude of the production. She brings all of the charm, poise and spirit necessary to portray the beguiling romantic lead of the show. Alex Lewis plays opposite Goodwin as her love interest Danny Danilovich and does a splendid job with his strong tenor and skilful characterisation, channelling Danny’s charismatic yet aloof personality. 

The impressive set is designed by Michael Scott-Mitchell, who transforms the space at the Opera House’s Joan Sutherland Theatre to portray a different time and place, the fictional European Provence of Pontevedro which is reminiscent of the aesthetics of 1920s Paris.

Throughout the three act operetta, the set continues to elevate itself, with the third act opening to a grand staircase and red carpet which is striking to look at and the perfect back drop for the lovers to finally come together and for Pontevedro to be saved. 

The costumes are an essential component of building the world of The Merry Widow, and costume designer Jennifer Irwin nails this responsibility with beautiful, evocative costumes featuring perfectly tailored tuxedos and elegant gowns with sequins galore. Ballroom scenes are the perfect excuse to showcase stunning 1920s drop waist gowns in bright colours and the garden party in the second act is the perfect opportunity for Irwin to flex her creative muscles conjuring up charming folk dance outfits for the men and women in the ensemble. Dance and how costumes look whilst fluidly moving is a big consideration in this show, one which Irwin has thoroughly thought through, masterfully creating magical moments. 

The choreography has been designed by the multi-talented director Graeme Murphy and assistant choreographer Olivia Jenkins. The dance element of The Merry Widow is strikingly delightful, injecting a shot of pure joy and glamour whenever it is present. The dance transports the audience to a different time and allows them to get lost in a bygone era of opulence. The Viennese waltz, the can-can and polka are all featured in the production. The dancers show great technique and elegance and are transfixing to watch. A highlight of the show is the waiters jazz inspired dance in the third act ballroom scene which is thrilling for the audience to behold. 

Conductor Vanessa Scammell does a beautiful job leading the orchestra to bring the lavish score to life, heightening the moments of romance and ecstatic happiness. Graeme Murphy leads the Opera Australia production with a confidence and a shining vision that somehow makes all the moving parts seem effortless, putting the audience totally at easy so they can fully submerge themselves in the dreamworld before them. The Merry Widow is a fun romp through a romantic fantasyland, affording the audience to escape into something grand, raucous and greatly satisfying for an evening.

Photo Credit: Carlita Sari