Composed by Leonard Bernstein. Conducted by Brett Weymark OAM. Directed by Dean Bryant
There’s no weak link in this Candide that is visually stunning in its merging of opera and musical theatre
Reviewed by Juliana Payne
Joan Sutherland Theatre, SOH
Until 14th March, 2025
Tickets: https://opera.org.au/productions/candide-sydney/
Type: Operetta, Musical Theatre, Glitter & Colour
If You Like: The Threepenny Opera, The Rocky Horror Show, Monty Python, Strictly Ballroom
Leonard Bernstein’s Candide is a musical-operatic marvel that blends high-energy wit, orchestral grandeur, and biting satirical, slapstick comedy into an unforgettable experience. Based on Voltaire’s 1759 novella, the show takes us on a whirlwind journey across continents, through calamities and absurdities, wrapped in a beautiful Bernstein score that is exuberant and sophisticated.
Conductor Brett Weymark let’s Bernstein’s music do its work at the heart of Candide. There is an amazing variety of style and tone from the dazzling overture, to comedic and slapstick tunes – the stunning “Glitter and Be Gay”, and the introspective, if ironic, beauty of “Make Our Garden Grow” at the conclusion to name but two. The compositions blend operatic grandeur with musical theatre charm and a deceptive lightness of touch, played trippingly, but rich, lush and mellifluous, allowing for comedic levity counterpointed with poignant moments.
The main performers bring to this production a great proficiency of operatic training mixed with the sensibilities and experience of musical theatre; the result is stunning. It demands a cast who can navigate complex vocal lines, comic timing, and grandiose melodrama without looking stupid – and they are successful.
The triumvirate of Eddie Perfect (Voltaire/Pangloss), Lyndon Watts (Candide) and Annie Aitken (Cunegonde) provide the core chemistry and talent around which the supporting cast shine just as brightly – they’ve managed to achieve the feat of having no weak links. The chorus is as strong as it always is for Opera Australia, dressed uncannily like the unconventional conventionists from Rocky Horror, whilst also providing the beautiful choral bedrock to the main action.
Candide genuinely tries to find meaning in the madness, and ultimately seems to think that a simple, good life may be possible
There’s no need to dwell on the plot, which is a kind of anti-picaresque tale, of the innocent young man who learns through misadventure and suffering of the realities of the world. Suffice to say the foibles and hypocrisies of modern society are savagely satirised by Voltaire and this production’s set and costume design by Dann Barber brings it to life. Shabby-chic raggedy grandeur exposes the trashy cheapness underneath, the bright colours, grandiose wigs, farthingales and furbelows cannot mask the harsh realities of life. The set is a delight, with a grubby 1960s domestic caravan opening out to become anything from a castle, to a volcano and a Vegas-styled Venice. The ragged-edged cloth marquees that provide the backdrop are like the tired circus banners of Nightmare Alley, enhancing the mood of despair beneath the gaiety.
The speed and chaos of the action is well regulated by director Dean Bryant, who keeps us focused on the show’s central theme, namely the folly of unrelenting optimism in a dark and ruthless world, even as he hilariously employs all the tools of the stage trade from music hall, burlesque, slapstick and a generous sprinkling of Bob Fosse. Despite its biting satire, however, Candide genuinely tries to find meaning in the madness, and ultimately seems to think that a simple, good life may be possible.
In current tech terms, this is an immersive experience, a rollicking wholly engaging performance and Bernstein’s music is absolutely mesmerising. However, there is a little dark bird in the shadows that seems to ask a Theatre Thought: If Voltaire was despairing of human avarice, greed and corruption in 1759, then how are we to feel now?
CREATIVES
Conductor Brett Weymark
Director Dean Bryant
Set & Costume Designer Dann Barber
Lighting Designer Matt Scott
Sound Designer Samuel Moxham
Choreographer Freya List
CAST
Voltaire / Pangloss Eddie Perfect
Candide Lyndon Watts
Cunegonde Annie Aitken
Old Lady Dominica Matthews
Maximilian Euan Fistrovic Doidge
Paquette Cathy-Di Zhang
Cacambo Eddie Muliaumaseali’i
Governor/ Vanderdendur John Longmuir
Martin Andrew Moran
Opera Australia Orchestra
Opera Australia Chorus
