Opera Australia’s Candide, now playing at the Sydney Opera House, is a whirlwind of wit, satire, and musical brilliance. This production, first staged by Victorian Opera, retains its bold direction, razor-sharp choreography, and visually dynamic set design, all wrapped around a stellar cast that delivers both comedy and pathos in equal measure.
Based on Voltaire’s novella, Candide follows its naive hero on a series of misadventures that challenge his belief that he lives in “the best of all possible worlds.” From exile to shipwrecks, betrayal to unexpected reunions, Candide’s journey is an absurdist rollercoaster that exposes the contradictions of optimism in the face of relentless calamity. The production embraces the satire wholeheartedly, playing up the dark comedy of each misfortune with relish, making for a fast-paced and wildly entertaining night at the theatre.
Dean Bryant’s direction is masterful, balancing the operetta’s chaotic energy with pinpoint precision. He ensures that the humour never undercuts the emotional weight of Candide’s journey, instead weaving both seamlessly into the storytelling. The self-aware theatricality he brings—embracing metatheatrical moments and contemporary flourishes—gives the production a fresh, distinctly Australian identity while staying true to Bernstein’s original vision. Under Bryant’s guidance, the ensemble shines, maintaining a sharpness that keeps the audience engaged from start to finish.
Freya List’s choreography injects boundless energy into the production, seamlessly blending dance into the action without ever feeling extraneous. Movement enhances characterisation, reinforces punchlines, and drives the momentum forward.
Dann Barber’s set is a delightful playground that morphs effortlessly from scene to scene, capturing the constantly shifting world of Candide with ease. A dilapidated caravan becomes a portal to the ridiculous series of misfortunes Candide endures, its adaptability allowing for rapid and imaginative scene changes.
Opera Australia’s chorus again proves why they are among the best in the business. Their vocal power and precision add grandeur to Bernstein’s sweeping score, providing a rich sonic landscape that elevates every scene. Whether adding depth to raucous ensemble moments or harmonising through intricate passages, they are the backbone of the production.
Lyndon Watts, as Candide, brings the perfect mix of wide-eyed innocence and unwavering optimism. His vocal performance is rich and expressive, capturing Candide’s journey with clarity and heart. Annie Aitken as Cunegonde is a revelation. Her “Glitter and Be Gay” is a showstopper—pitch-perfect, wildly funny, and executed with dazzling comedic flair. As the Old Lady, Dominica Matthews is a powerhouse, bringing warmth, grit, and impeccable comic timing to every scene she’s in. Eddie Perfect as Voltaire/Pangloss is simply fabulous. His effortless charm anchors the production’s satirical edge, making him an undeniable highlight.
Opera Australia’s Candide is hilarious, thought-provoking, and packed with exceptional performances. It’s an operetta that doesn’t take itself too seriously but delivers its messages with precision and heart. A must-see production that proves once again why Bernstein’s masterpiece remains timeless.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world trying new gin. Follow him on all the socials @talldancraig
Candide runs for 2 hours 30 minutes (with 20-minute interval) and plays at the Joan Sutherland Theatre, Sydney Opera House, through 1 March 2025. Tickets are available through Opera Australia.
Disclosure: The Plus Ones were guests of Opera Australia.
Image credit: Carlita Sari
