Abduction (Victorian Opera), at Palais Theatre - 2 hours 15 minutes, including interval

Abduction is so much wicked fun.

It is the comedic elements in the English-language libretto, adapted by director Constantine Costi, that has me saying as much.

That is not to diminish the intoxicating voices (the singing is in German) of the leads.

Photos by Jeff Busby

More to the point, I can’t say that I have seen another opera quite like it, which adds to the weight of my sentiments.

It is Victorian Opera’s bold adaptation of an early Mozart masterpiece, The Abduction from the Seraglio, reimagined as Abduction.

It transports us into a den of iniquity, where hedonism thrives.

The reason has everything to do with two brides to be searching for excitement.

Let’s back up for a moment – it was a case of twin proposals for Blonde and Konstanze.

Their fiancés, Pedrillo and Belmonte, are decent guys, but straitlaced and dull.

So, as Blonde and Konstanze wander past The House of Pasha, the former simply can’t help herself, enticing a cautious Konstanze to join her.

What they see is eye opening.

Various levels of debauchery follow, opening the girls up to a world of possibility.

Konstanze has her head turned by The Pasha, who encourages her to let loose, while Blonde soon has Pasha’s right-hand man, Osmin, eating out of her hands. 

Pedrillo and Belmonte are beside themselves with worry.

The truth is they have every reason to be with what they discover when they, too, find a way into the house of pain and pleasure.

So, does this mark the end for the two couples or it is simply a reckoning of sorts?

Performance-wise, Abduction is most engaging, as well as entertaining.

I delighted in the endeavours of soprano Cleo Lee-McGowan, who hits the high notes superbly as Konstanze. She is distinguished by her clarity and conviction. I long to see and hear more of her work.

American-born tenor Kyle Stegall turns on the humour and showcases his vocal strength in his realisation of fish out of water Belmonte.

He makes quite a pairing with fellow tenor Douglas Kelly (Pedrillo). They represent a couple of bumbling buffoons scared of their own shadows. Kelly, too, is comically appealing.

In a head-turning performance, soprano Katherine Allen revels in the power and control she exerts as Blonde.

With imposing timbre in his voice, Luke Stoker is a larger-than-life presence as The Pasha’s head of security. Osmin is totally comfortable throwing his weight around until he encounters Blonde and is willingly subjugated.

Dressed to the nines, with as little as a facial expression, Lyndon Watts nails the cult-like following afforded to The Pasha. He may not sing, but he still shines brightly.

And that conveniently leads me on to offer high praise for the delightful set and costuming choices made by Matilda Woodroofe and Nathan Burmeister.

In short, they had fun with what they did and that translates to audience enjoyment.

Hearts and flowers, red and blacks, predominate when it comes to the set design.

So, too, that colour palette in relation to the costuming, especially as it pertains to the chorus, but more besides.

A case in point is Konstanze’s sexed up look as she succumbs to her other, more adventurous side, while The Pasha and Osmin are scene stealers.

Chad Kelly is a maestro with the baton, energetically and enthusiastically conducting Orchestra Victoria.

With a particularly delicious first act, Abduction is a spectacle, in which love, lust and obsession are on the line. They make for a heady mix.

Two hours 15 minutes, including interval, Victorian Opera’s production is playing at the Palais Theatre until 16^th August, 2025.