Type – Operetta, Jazz-Dressing
If you liked – The Great Gatsby; My Fair Lady; Gilbert and Sullivan
The Merry Widow: An amusing, entertaining diversion from the quotidian.
There is a certain comfort in stepping into the opulent world of Franz Lehár’s The Merry Widow. In this Opera Australia production, set in the jazz era, the glittering embassy parties of Pontevedro and the bohemian revelry of Maxim’s are brought to life with a sumptuous visual flair.
As an evening of pure escapism, it largely succeeds, carried by a cast that embraces the sweeping romanticism. Yet, beneath the champagne and waltzes, one cannot help but feel the weight of time pressing down on this century-old operetta about a whole town’s elites trying to inveigle a rich young widow to marry her ex-boyfriend to keep her fortune in their hands. What could possibly be wrong with that?
Visually, the production is utterly gorgeous. Michael Scott-Mitchell’s set captures the fading grandeur of fin de siècle Europe with towering, intricate art nouveau backdrops that shift seamlessly into the neon-lit, rowdy charm of Paris. The summer-house with its symmetrical peacock design, reminiscent of Beardsley, syncs with the peacock blues of the Monet-style cyclorama and the widow’s gowns.
Jennifer Irwin’s costumes are also breathtaking, a parade of cascading satin gowns and brocaded uniforms, topped off by the widow’s many show-stopping ensembles. The company is usually outfitted in floaty springtime pastels, enabling the widow to stand out in bolder, lusher tones. Graeme Murphy’s full power of choreography is brought to bear on the set pieces, giving the dancers an extra boost. His direction and staging use the space very well, so that the performers are not overwhelmed by the soaring spaces. Damien Cooper’s dynamic lighting perfectly enhances the set, the action and the costumes, subtly guiding our attention to where it is needed and enhancing the necessary emotion.
The performances elevate the experience further. Julie Lea Goodwin commands the stage with a radiant presence, balancing the character’s sharp wit with a rich, soaring soprano and effortless grace. There is genuine chemistry with Alexander Lewis’ Count Danilo, whose rakish, world-weary bachelor displays his conflicted state convincingly. Alexandra Flood as flirty Valencienne is a standout, and the whole supporting cast delivers strong comedic timing, particularly in the frantic embassy subplots, keeping the energy afloat wherever possible.
However, despite these strengths, the production occasionally finds itself trapped in amber. The Merry Widow was a sensation in 1905, but modern audiences, accustomed to tighter pacing, may find the narrative slow between the musical numbers. The spoken dialogue, heavily reliant on mistaken identities and dated drawing-room politics, can create dips in momentum. Opera Australia have chosen to retain the piece’s inherent gender dynamics and safe, formulaic humour, leaving some of the discordant notes unexamined. While the musical numbers retain their spark, the long stretches of exposition in Act Two can test the patience of contemporary musical theatre fans.
Is The Merry Widow Worth Seeing in Sydney?
Ultimately, this production is a beautifully wrapped gift for traditionalists and lovers of classic operetta. The singing is sublime, the orchestra is magnificent as always, and the set and costumes provide a feast for the senses. It is a highly competent, affectionate revival, that remains located in its original milieu.
Tickets and Practical Info for The Merry Widow in Sydney 🎟️
Joan Sutherland Theatre, Sydney Opera House
Until 18 August 2026
Tickets here
Creatives
Composer: Franz Lehár
Librettists: Viktor Léon, Leo Stein
Conductor: Vanessa Scammell
Director and choreographer: Graeme Murphy AO
Conductor Vanessa Scammell
Director & Choreographer Graeme Murphy AO
Creative Associate Janet Vernon AM
Set Designer Michael Scott-Mitchell
Costume Designer Jennifer Irwin
Lighting Designer Damien Cooper
Sound Designer Jim Atkins
Assistant Director Cameron Mitchell
Assistant Choreographer Olivia Jenkins
English Translation Justin Fleming
Cast
Hanna Glavari
Emma Pearson (8–26 Jul)
Julie Lea Goodwin (31 Jul–18 Aug)
Danilo Danilovich
Alexander Lewis
Baron Mirko Zeta
David Whitney
Valencienne
Alexandra Flood
Camille de Rosillon
John Longmuir (8–26 Jul)
Virgilio Marino (31 Jul–18 Aug)
Njegus
Benjamin Rasheed
Alexis Kromov
Richard Anderson
Dominik Bogdanovich
Alexander Hargreaves
Sylviane
Jane Ede
Raoul de St. Brioche
Iain Henderson
Olga Kromov
Helen Sherman
Konrad Pritschich
Tom Hamilton
Praskovia
Dominica Matthews
