Bernstein and Busoni
An opera review by Shirley Politzer
“Arlecchino”, the first of two operas presented at the historic Eternity Theatre in Darlinghurst, is a little-known one-act slapstick comedy performed in English. Premiering in Zürich in 1917, it was written by the child prodigy Ferruccio Busoni (1866–1924) and directed here by Christine Logan. In this opera that takes place in 18thcentury Italy, Busoni channels his disillusionment with World War I through the lens of commedia dell’arte, creating a satire both playful and pointed.
At its centre is the womanising Arlecchino (Harlequin), performed with strength and high energy by Andy Leonard complete with a pantomime style white face makeup. Busoni uses the character to mock militarism, nationalism, marriage, human folly — and even opera itself! The title role is spoken rather than sung, an unusual choice that adds to the cheeky theatricality of the piece.
The production opens with characters spilling onto the stage and interacting with the audience, establishing a mischievous tone from the outset.
The opera unfolds in four scenes, each presenting Arlecchino in a new guise: first as the seducer of the tailor’s wife, Annunziata; then as a swaggering warrior enlisting the hapless tailor (Ed Suttle) into the army; later as a husband fleeing from his wife Colombina; and finally as the triumphant trickster who outwits them all. The plot is not always easy to follow.
Brea Holland’s Colombina is a highlight — busty, brazen and delivered with fabulous comic flair. Her strong, agile singing is paired with dazzling pole-dancing feats, including moments performed while hanging upside down. All this whilst wearing a beautiful blue, gold and orange velvet dress with full circle underwire skirt support, by costume designer Bianca de Nicola.
Busoni’s music is tuneful, though often coloured by quirky atonal harmonies, surprising key changes and inventive orchestration. It’s a sound that is not often part of traditional opera but remains accessible and engaging. The score includes a lively comic duet, an ensemble quartet and even a mock duel.
The 14-piece orchestra on the stage, conducted by Peter Alexander, took some time to fully settle into Busoni’s complex writing but ultimately delivered the work’s brightness, bite and emotion. A special delight was James Fortune’s piccolo playing, which soared gleefully above the orchestra whenever it appeared.
After the interval, it took only the first phrase from the orchestra to know we had shifted from the 18th century into a different world, musically reminiscent of West Side Story, by Leonard Bernstein, also the composer and librettist of this later work “Trouble in Tahiti”. The opera is heavily autobiographical, drawing on observations of his own parents’ marriage
The opera opens with the close-harmony jazz trio who introduce us to the joys of 1950s suburban America, but its over-sweet upbeat jazziness does not reflect the inner lives of the lead characters in the opera. The trio return throughout with their vibrant tunes.
Played by real-life husband and wife, Sam (Peter Coleman-Wright) and Dinah (Cheryl Barker) end up in an argument whenever they have a conversation, which is not often. Despite lying to each other, avoiding intimacy and feeling alone in their marriage, they clearly think alike.
Dinah uses therapy to help herself, and Sam is just self-absorbed. Over the course of this 45-minute opera, we see a single day in their strained life. They try to feel a little togetherness by going to see a new movie, “Trouble In Tahiti”. Will it solve their marital problems?
Barker (soprano) and Coleman-Wright (baritone), are convincing in their roles. Barker sang “There is a Garden”, capturing the emotional heart of the opera. Her long, arching melodic lines and crystal-clear tone captivated the audience here and throughout the opera. In “There is a Law”, Coleman-Wright sang strongly with bravado to Bernstein’s syncopated music.
Together, “Arlecchino” and “Trouble in Tahiti” make a striking contrast: Busoni’s sharp, satirical commedia strips life to caricature, while Bernstein’s jazzy suburban drama exposes the quiet ache beneath everyday normality. Musically, there is a good mix of bright jazz with classical operatic writing.
Eternity Playhouse, Darlinghurst
Nov 28, 2025
Endangered Productions
