Opera Up Late, at Regent Theatre

Reuben Kaye – I readily acknowledge that I can never get enough of him.

One of the highlights of my year is attending his – well, his and director Shaun Rennie’s – Opera Up Late at the Regent Theatre.

As Kaye tells it, it was Rennie who approached him to front the show in the first instance.

It was originally conceived and executed as part of 2023’s Sydney WorldPride, a landmark 17-day global LGBTQIA+ festival.

This is the second year it has been in Melbourne. It certainly left a strong and favourable impression in 2025 … and this repeat dose did likewise.

It is oh so rude and pokes fun at sacred cows. Who doesn’t love that? 

It is also a massive tribute to the emotional impact of opera, featuring a stunning array of talent.

I speak of four highly accomplished singers – five, if you count Kaye, which I most certainly do (I simply wish we had heard more of him opening his lungs this year).

Soprano Emma Matthews is joined by mezzo soprano Ruth Strutt, tenor Daniel Macey and baritone Anthony Mackey.

Then, there are featured dancers and choreographers Nicholas Jachno and Tiggy Trelour.

Tickling the ivories alternately are music director Shanon D. Whitelock and Francis Greep, who is head of young artists at Opera Australia.

Whitelock is the first to appear, dressed to the nines in tails, sans trousers, taking his place at the piano. It is a noteworthy start.

Cue performers with hockey sticks, before Kaye is wheeled out sporting a blonde quiff, sparkly earrings, an oversized orange t-shirt and black boots. Like Whitelock, no pants.

On his face is an endearing smile. And he is carrying a microphone complete with what appears to be a shiny black horse’s tail.

He begins to regale us with his sharp-tongued humour, which is, and has always been, a most welcome mainstay of the offering.

His most controversial line concerns Erika Kirk, the widow of slain American right-wing political activist Charlie, while fascism gets a dressing down.

Enter the cheeky, thinly attired drag alter ego Maria Phallus (Macey) and, subsequently Strutt, who is finely dressed … at first, their operatic prowess in full voice.

Revealing derrières in G-strings is part of the fun and goes down a treat.

Opera Up Late 2026 pays homage, with a twist, to the importance of the bass performer in opera.

On several occasions, after much fanfare from Kaye, Mackey takes to the stage … for mere seconds to perform slivers of operatic productions. Think Aida, The Tales of Hoffmann and Tosca.

Of course, that is where the humour lies. Kaye reacts with two words that say it all. “Wow! Chills.”

Next is the turn of the stupendous Matthews to really wow us with her scintillating vocals.

I should add that all this takes place against the stunning backdrop of the Café Momus set from Opera Australia's La Bohème, which is also playing at the Regent Theatre.

The production continues at pace, with costume changes galore and the strategic use of props. Early on, Matthews gets “oiled”.

The two dancers perform a homoerotic number that ends with Kaye trying to insert himself into the conversation.

There are laughs aplenty, as well as astonishing minutes of opera at its finest, as Kaye freely acknowledges that Opera Up Late lurches from the divine to the profane.

Running for an hour and a half, I loved it and I can’t wait for 2027.