Review: Leonard Bernstein’s Crazy Philosophical Satire CANDIDE Is Presented With Colour And Clear Storytelling

Opera Australia brings Victorian Opera’s production of CANDIDE to the Sydney Opera House.  Filled with color and camp energy, this new full production staging by Director Dean Bryant brings Leonard Bernstein’s (Music) musical opera based on Voltaire’s novella back to the Sydney stage.

The work, based on French Age of Enlightenment philosopher and satirist Voltaire’s novella, Candide, ou l’Optimisme, published in 1759, shares the story that centers around the idea that “all is for the best” in the “best of all possible worlds”.  Turned into a two act musical with Hugh Wheeler’s book and lyrics by Richard Wilbur, John Latouche, Dorothy Parker, Lillian Hellman, Stephen Sondheim and Bernstein, which was first performed in the new format in 1982, the story follows the life of the illegitimate nephew of the Baron Thunder-ten-Tronck, the wide eyed optimistic Candide ( Lyndon Watts).  While his tutor Dr Pangloss (Eddie Perfect), also instructed Candide’s cousins Cunegonde (Annie Aitken) and Maximilian (Euan Fistrovic Doidge) and the serving girl Paquette (Cathy-Di Zhang), Candide is most affected by his teachings that promote the idea that  everything happens for a reason, no matter how awful, as the end result will be something good, so when he’s thrown out of his uncle’s care for taking a fancy to Cunegonde, Dr Pangloss remains his guide as a series of misfortunes befalls him and his relatives but with time, he starts to challenge Dr Pangloss’ philosophy. 

Dean Bryant presents his production in the style of a touring minstrel show retelling the 18th century story in a more modern age so Set and Costume Designer Dann Barber has centred the performance in an old caravan which provided the backdrop throughout.  The addition of banners and occasional exposure of interiors helps move the story through the international locations while signboards track a list of all the cities Candide passes through on his journey.  In contrast to the shabby caravan, Barber has dressed the characters in an inventive expression of costumes from the 18th century and earlier, with crinoline skirts, powdered wigs, cod-pieces and pantaloons paired with more contemporary elements like cowboy boots, crocs and an inexplicable tiger toy shirt cuff. 

The casting of this is a perfect balance of musical theatre performers with strong voices and opera performers with dramatic capabilities and good comic sensibilities.  Coming off a successful run in Hamilton, Lyndon Watts brings the requisite innocence and naivety to Candide for his dramatic performance while also having a beautiful voice to ensure that the young man dealing with love, loss and growing up can share his evolution with poignant emotion and passion.  Eddie Perfect, who has also held significant musical theatre roles, and will soon go on to star in a musical he wrote, has the stage presence to command the role of Dr Pangloss and express Voltaire’s narration.  Euan Fistrovic Doidge also has an extensive musical theatre background brings a brilliant physical comedy to the vain Maximillian.

Captivating soprano Annie Aitken returns to the role of Cunegonde, having also performed in the staged concert with Sydney Philharmonia Choirs, directed by Mitchell Butel in 2018 and the State Opera South Australia production.  She ensures that she brings a new energy to Bryant’s production so that the audience is given a new experience while still treated to her classical voice.  As Paquette, soprano Cathy-Di Zhang brings a charming comedy to the role and as the “Old Lady”, Dominica Matthews delivers an amusing I am Easily Assimilated that proves she is well suited to crossing over the genres of opera and musical theatre.

Dean Bryant has ensured that this mad-cap and convoluted tale of trying to stay optimistic after a litany of misadventures is clearly understood.  The premise of a band of storytellers sharing the story enables the performers to take on more broader characteristics like Aussie accents and a degree of ‘bogan’ sensibilities to juxtapose with the aristocracy they are meant to be representing.  The directorial choices along with the design elements mean there is a lot going on in any one scene allowing for moments of laughter when they are least expected ensuring the work is never taken too seriously even though there is a powerful underlying message that “we must cultivate our garden” rather than rely on chance to give a favourable outcome.

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