The Magic Pudding: The Opera (Victorian Opera)

A beaut way for the young to be introduced to opera in the company of loved ones.

That is the key to the success of The Magic Pudding: The Opera, an operatic adaptation of Norman Lindsay’s 1918 children’s classic.

The story concerns thievery of a cantankerous magic pudding named Albert. 

Photos by Casey Horsfield and Charlie Kinross

He is a walking, talking pudding that can seemingly change flavours at will and keeps on keeping on – in other words, he never runs out. The more you eat, the more you get.

Enter an adventurous koala named Bunyip Bluegum.

Mighty hungry in his travels, he comes across said dessert and is intrigued.

With the pud is gruff sailor Bill Barnacle and emperor penguin Sam Sawnoff, who invite Bunyip Bluegum to join them for lunch. 

But others also have their eyes (and stomachs) on the magic pudding.

I speak specifically of sneaky Patrick the Possum and Watkin Wombat, who will stop at nothing to pilfer the sweet treat.

Their skulduggery seemingly knows no bounds. 

Composed by Calvin Bowman and written by Anna Goldsworthy, The Magic Pudding: The Opera premiered in 2013 and is now back for its third helping.

Featuring a delightful array of outstanding voices, headlined by narrator Rachael Joyce, Bailey Montgomerie, Douglas Kelly, Joshua Morton-Galea and Eamon Dooley, it is chock-full of playful, larrikin, dinky-di Aussie charm.

Also on show and on song are students from the Melbourne Conservatorium of Music at the University of Melbourne. 

The vocals of the 11 principal cast members and ensemble continue to reverberate throughout.

In fine form is Victorian Opera’s Head of Music Phoebe Briggs, who conducts a chamber orchestra of 11.

The Magic Pudding: The Opera is a visual treat too.

Set and costume designer Chloe Greaves has done an excellent job creating a rustic setting and evocative, exaggerated, child-friendly costuming, with no shortage of hats. 

Checked shirts are all the range for the ensemble.

Best of all though is the puppetry that constitutes the creation and movement of grim-faced Albert. I simply couldn’t get enough of him. Eamon Dooley walks him around like a second skin.

There is so much enjoyment to be had aurally and visually in a story that director Elizabeth Hill-Cooper ensures resonates with young and old.

Sixty minutes without interval, it is on at The Round, Darebin Art Centre and Bunjil Place until 30^th May, 2026.