Life in all its messiness is played out in Lyric Opera’s chamber opera The Children’s Bach. With music by Andrew Schultz and libretto by Glenn Perry, it is based on a novella of the same name by Helen Garner. Set primarily in Melbourne in the 1990s, it centres on the fraught relationships in the Fox family. Dexter Fox (Michael Honeyman) is married to Athena (Kate Amos) and they have an autistic son, Billy (performed alternately by Ben and Chris Touzel). Athena is very much stuck in a rut. She holds no hope of Billy – who sometimes screams all day – getting any better.
Dexter bumps into an old flame, Elizabeth (Juel Riggall), who is waiting for her 17-year-old sister Vicky (Lucy Schneider) to arrive from Perth. Their mother died some time ago and Elizabeth makes it clear to Vicky that if she puts her up, she isn’t about to undertake mothering duties. Dexter invites Elizabeth, Vicky and Elizabeth’s married, libertarian lover Philip (Adrian Li Donni) over for dinner. Philip and Athena’s eyes meet and the only question is when Athena will stray, as she is clearly looking for a way out of her current existence. Only, in quick time, she finds that Philip’s bohemian lifestyle doesn’t suit her either.
By then, Vicky has moved in with the Foxes, fed up with Elizabeth’s cramped quarters. Meanwhile, Philip retains a strong relationship with his daughter, Poppy (Chloe Taylor). She is studying music and is particularly well versed in fugue, for which Bach was known. In short, that is a musical composition in which one or two themes are repeated or imitated by successively entering voices. Desire and traditional family life clash in The Children’s Bach. That is reflected in some of the discordant musical notes. It is hardly what I would describe as a lyrical piece.
I found the real heft in the work came as the narrative developed. I was intrigued and engrossed. Nicely paced, most of it is sung, although there are also a few spoken elements. With fine sets of pipes, the cast does a good job with the material, building the tension. They are aided by an accomplished six-piece orchestra conducted by Lyric Opera’s artistic director Patrick Burns. The two-storey set design by Jacob Battista, which captures the variety of settings inherent in the production, is well thought through. In fact, I thought it was outstanding. Battista is also responsible for the costuming.
Not traditional opera, director Katy Maudlin has excelled in turning the screws tightly. The Children’s Bach was commissioned by Chamber Made and premiered at The Malthouse Theatre in 2008. This is only the second full production of the work. It is performed in English with English surtitles and is on at Theatre Works until 7th September, 2024.
Alex First
Other reviews you might enjoy:
- Big Heart (Theatre Works) – theatre review
- Slaughterhouse Five (MUST) – theatre review
- She is Vigilante (Theatre Works) – theatre review
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
