La Bohème

Few opera companies live for long without a production of La Bohème on the shelf. 

Gale Edwards’ richly detailed version has been constantly revived since premiering in 2011 and this outing for the OA’s winter season will be its last.  Young director Constantine Costi will fill the void just next year with his new production, returning to Puccini’s setting of Paris in the snow.

Edwards’ choice was Berlin in the last days of the Weimar Republic for this tale of penniless yet idealistic young artists. La Bohème (The Bohemians) bursts with their exuberance and camaraderie, and a great love revealed in soaring melodies but dashed by death.  No wonder its a hit - and demanding constant rejuvenation.

Puccini doesn’t waste time with orchestral prologues.  Curtain up and Mimi, a seamstress living upstairs, is soon tapping on the door of Rodolfo’s freezing garret wanting a light for her candle.

As Rodolfo and Mimi, Kang Wang and Olivia Cranwell both discover and seal their love in one beautiful, nuanced duet, before joining Rodolfo’s mates to celebrate Christmas Eve at the Cafe Momus. 

Brian Thomson’s vast Speigeltent-like set, less convincing as artist digs, is here transformed into galleries of hookers and Nazis overlooking the wild Berliners below, outrageously costumed by Julie Lynch and colourfully lit by John Rayment.  Under Edwards, as with the (all Australian) cast, each of the huge chorus - even the obligatory scampering children - come with real dramatic and character detail. 

Rachelle Durkin excels as the seeming gold digger Musetta, sparkling in her Swarovski gown, trying to rouse the jealousy of painter Marcello (Luke Gabbedy).  The whole witty gang with philosopher Colline (David Parkin) and musician Schaunard (Shane Lowrencev) are sharply realised, especially in the garret when they cover hunger and disappointments skylarking into theatrical games.  An hilarious Andrew Moran arriving to demand the rent is the victim, as he is as Alcindora at Cafe Momus craving Musetta but left only with the bills.

Revival director Danielle Maas (and conductor Erina Yashima) maintains the cracking pace if not always guiding our focus through the onstage frenzy.  But Edwards’ original eye for dramatic truths make the tragic outcome for Mimi and the gang all the more heart-breaking, rendered in Puccini’s sweeping, sublime melodies.

If it’s a vote, I’d still go with Baz Luhrmann’s career-making production of La Bohème back in 1990, with its youthful joy and strong sense of place. But there’s always another to come. 

Martin Portus

Photographer: Keith Saunders