Fat Pig (Forest Collective and BK Opera), at fortyfivedownstairs - 100 minutes

The conceit behind the Australian premiere of the darkly comedic chamber opera Fat Pig feels all too real.

What is it like to be constantly judged for being an overweight (I am talking morbidly obese) woman?

No matter that you are smart, witty and a good communicator, the one thing you can’t shy away from is how you look.

Then, what if you are a guy and you are attracted to that person because of who she is? I am talking about the whole package.

Photos by Kate Cameron

Still, when your work colleagues find out who you are dating, they give you heaps. They simply won’t let the matter rest. They lean into the vitriol.

That, in a nutshell, is Fat Pig, which has been adapted from Neil LaBute’s award-winning 2004 play of the same name.

Soprano Amanda Windred is charming, confident and composed in the lead role. Her strong vocals soar.

She plays Helen, a librarian who has a chance meeting with professional businessman Tom. Both are grabbing a bite to eat and there is no spare single table, so she invites him to share hers.

Helen doesn’t hide the fact that she loves food and it is quickly clear that they enjoy each other’s company. So, he invites her out on a date at a proper restaurant.

When the intended male lead for this production fell ill on the eve of opening, baritone Michael Honeyman stepped in at a moment’s notice.

With score in hand, I am in awe of the nuanced performance he gives. Frankly, he is phenomenal, his timbre, tone and expressiveness nailing the part.

When Tom arrives back at work, he is set upon by an obnoxious, sexist, work colleague, Carter, who wants all the dirt.

Tenor Daniel Szesiong Todd brings energy, persistence and polish to the aggressive persona. Appropriately, my disdain for his character grew at each word uttered and every note sung.

Also giving Tom a hard time is Jeannie from accounts, who is keen on him and has been for some time. When she discovers the truth, she quickly buys into Carter’s contempt.

Soprano Belinda Dalton is rich, engaging and tuneful as the jilted other woman.

As the relationship between Tom and Helen develops, he has an important decision to make.

Will he allow the outside noise to dictate its continuation? Is he strong enough to withstanding the persistent brickbats that Carter insists will also affect his future career.

Body image, as defined in operatic terms, works a treat. I found myself well and truly invested in the outcome.

The American composer is Matt Boehler and the Australian librettist Miriam Gordon-Stewart.

I thought the score was terrific, often light, jaunty and up tempo, but dramatic as required, reflecting the mood of the various scenes.

It has been well realised by the accomplished chamber orchestra – clarinets, percussion, violin, viola and cello – under musical director Evan J. Lawson.

The set design by Max Bowyer is simple but effective. It is remarkable what can be achieved with a few tables/desks, a double bed, a couple of beach lounges and a beach umbrella.

That, plus a few carefully selected props instantly take us to the heart of the action.

I applaud Oliver Hall’s choice of costuming – a mix of conservative and provocative – which is equally redolent.

Director Kate Millett emerges triumphant as she guides the battle of minds, which is at the heart of Forest Collective and BK Opera’s memorable staging of Fat Pig.

It is playing at fortyfivedownstairs in an all too short season that finishes on 8th June, 2025.