The Fairy Queen – Roslyn Packer Theatre (NSW)

Composed by Henry Purcell. Libretto by Thomas Betterton.

Cutting edge, interactive visual installation, demonstrates exciting possibilities of the future of Opera

Reviewed by Claira Prider
Roslyn Packer Theatre, Walsh Bay
Until 14 June 2025
Tickets: https://www.pinchgutopera.com.au/the-fairy-queen-2025

Type: Baroque Era Period Instruments, Classical Music, High Tech Visuals
If you liked: Classical works focussing on contemporary technology: Barrie Kovsky’s Magic Flute, Kip Williams’ Picture of Dorian Gray

In the late 1600s, while Britain was at war and King William III was in power, there became less and less demand for private, live court performances. Musicians found themselves forced to look elsewhere for employment, and public theatre bands became a promising option. Opera hadn’t taken off like in Italy and France, and composer Henry Purcell was offering a performance concept which hadn’t been seen all together concurrently before – Restoration Spectacular. It encompassed spoken word, singing, dancing, set changes and orchestral music all at once. Purcell’s The Fairy Queen is loosely adapted from Shakespeare’s A Midsummer Nights Dream and presents five separate scenes, which each exhibit a different aspect of love. There’s no plot or linear story; the performers play a different character in each scene and while there is soloist and ensemble structure, each of the singers are equally involved and highlighted throughout. It doesn’t quite meet the requirements to be considered an opera so is often referred to as a semi-opera.

Pinchgut Opera have moved this season from their usual City Recital Hall to Sydney Theatre Company’s Roslyn Packer Theatre. A Limelight interview with the director notes “the venue’s reputation as a theatre that can accommodate cutting edge projection technology is one of the main attractions for Jones, whose visionary approach to making opera goes hand in hand with the use of high-tech visuals.” Director Netia Jones has recently been appointed as the associate director of the Royal Opera and is known for using immersive installations, film and VR in her work. The five self-contained scenes that make up the semi-opera present different elements of love, which in this production are shown as snapshots from a current day unfolding from late afternoon to the following day.

The stage is a vast, black expanse, empty except for a wedding bouquet of white flowers laying on the ground directly below a silver disco ball which hangs from the centre of the ceiling. As the instrumental prelude plays, airport scenes are projected onto the digital backdrop. We see travellers walking with suitcases, line up and drop off their luggage, as others lay out the tape guidance barriers to direct the flow of people. The next scene is set in park, with bird song coming from the orchestra, the backdrop suddenly places us amongst a lush leafy, sun-soaked tree covering and the cast members are now twitchers, in camouflaging greens with their tripods, binoculars and cameras. Other scenes transport us to a wine bar, late night bus stop, radio station, cosy bedroom, costume parade, a wedding ceremony and rowdy reception, and are all facilitated by Jones’ digital backdrops that the performers interact with.

There are 4 dancers among the 16 strong cast on stage who facilitate a lot of the scene changes as well as reinforce much of the symbolism in the text. Choreographed by Shannon Burns’, the dance sequences help to maintain our engagement during the lengthy musical interludes as the dancers weave and intertwine and balance their bodies around set pieces, dancing with furniture as they move it on and off the stage. The costumes are colourful, effective and simple (except for the four seasons costumes which are far from simple; they are exquisitely sequined and feathered with wings and headpieces.) Matthew Marshall‘s lighting design hones the intricacies of the video and set elements, using light and shade to ensure the audiences’ focus is always drawn to a point of view that makes it easy to follow the rapidly changing scenes.

Led by Erin Helyard who conducts from the harpsichord, the twenty-piece Orchestra of the Antipodes are set up in front of the stage, seated in front of and level with the first row of the audience. Sitting 2-3 instruments deep, the musicians span across the entire width of the theatre in a wide, shallow arrangement. Unfortunately, Roslyn Packer Theatre does not suit un-microphoned musical performance. Acoustically, the space is bleak and lifeless and particularly dry when filled with audience members. Its’ inability to appropriately accommodate the small orchestra on stage leaves the instrumentalists seated in a formation that is not conducive to a cohesive sound. The acoustics of the space muddies the lower registers (for both instruments and singers) and subdues the dynamic range of the performers throughout. Despite this setback, we still get to appreciate the rich and emotionally direct music of Purcell – just not to the extent that Pinchgut performances usually provide.

Andrew O’Connor makes for a very entertaining drunk, while his other personas are readable and charming and match his rich vocal tone. Morgan Balfour‘s vocal performance is grounded with beautiful legato lines, and Louis Hurley‘s voice is colourful, resonant and warm, much like his animated characterisations. Cathy-Di Zhang‘s acting chops shine as bright as her vibrant tone as she coasts through Purcell’s flittering coloratura with ease. Kanen Breen‘s physicality and characterisation is unmatched His full-bodied commitment to every character makes him consistently magnetic to watch without overshadowing his musical sensitivity to baroque interpretations. The rest of the cast members all give refined vocal performances, each injecting individuality and charisma into their work. They successfully convey well developed characters that portray the spectacle and emotion of Purcell’s writing.

Of every Pinchgut production I’ve seen, I’ve been blown away by the musical sensitivity that shines through in how connected the instrumentalists are with the conductor and writing, with each other, and with the singers. This production has great cohesion between costume and character and between the production concept and the composers’ intentions. This makes me think the lack of connectedness and dynamic variety I experienced on opening night is a result of the performance space, not the writing, the direction, or the performers. While the Roslyn Packer Theatre capabilities enabled the company to present a contemporary and cutting edge production, it did so at the cost of the music, subduing the brilliance that sets Pinchgut Opera apart from other mainstage ensembles. Jones notes “I’m not interested in showing off technology; I’m interested in showing off the singers, the musicians, and this amazing opera.” The multi-dimensional vision is a brilliant concept and it’s executed in a way that doesn’t detract from the music, but elevates it in a way that heightens the humanity and makes it feel more immediate and present. I think if Sydney had an available theatre which was acoustically suitable and that could meet the needs of this production, it would be a five star success.