Bliss

Sometimes a title can be a bit of a curse when it comes to reviews. The name "Bliss" certainly sets itself up as a target for wordplay within an overly positive or negative critique. So the biggest disappointment with this production is that, since it’s mostly adequate, the term "bliss" can’t really be used either way.

Based on a modern classic Australian novel that has already been turned into a well-regarded film, Bliss is about an advertising man who, after suffering a heart attack, wonders whether he’s still alive or gone to hell. He resolves to live a good life, which puts him at odds with work colleagues and family and leads him down a complicated and symbolic road towards self discovery.

With big themes and plot twists, the story is certainly ripe for an operatic retelling. The great irony is that, though the characters and story are operatic, the production is almost completely let down by its musical dressings. Only a few moments are heightened by the musical treatment, and much of that is down to director Neil Armfield’s staging.

Conductor Elgar Howarth leads an excellent orchestra that manages to add depth to the material, but there is no mistaking how weak, almost frivolous, Amanda Holden’s libretto and Brett Dean’s music are as a whole. There is a brilliant two-hour play that is stuck in this three-hour, repetitive opera, and while if there are scenes that work well, especially near the end, there are others that just sit there with little to show in emotional investment.

As for the production values, there is actually much to compliment. The company is universally strong, particularly Lorina Gore’s Honey B, Taryn Fiebig’s Lucy and Barry Ryan’s Alex. Merlyn Quaife has some delicious moments as the greedy and scheming Betty Joy, but Peter Coleman-Wright’s leading portrayal of Harry Joy is truly fantastic.

However, the real star of the production is the set and lighting design: three walls covered in light bulbs that light up, flash and show images throughout. The design is an actual work of art and is worth the admission alone.

There are moments that are memorable, but for the most part Bliss is a production that might have been great in concept but doesn’t measure up in execution. As it only has one interval and yet is over three hours in performance (much longer than advertised), the great bliss comes at the end when one is finally allowed to stretch one's legs.

NB no performance on Friday September 3.