The Spare Room (Victorian Opera), at The Playhouse, Arts Centre Melbourne

Helen Garner’s semi-autobiographical 2008 novel about the hell of offering a spare room to a good friend with stage four cancer resonated strongly.

It collected a series of gongs, including Victorian and Queensland Premiers’ Literary Awards and the Barbara Jefferis Award.

And now, following five years of work, composer Dr Jane Hammond and librettist Theresa Borg have seen its world premiere as an opera.

Photos by Jeff Busby

Like the story it tells, it features discordant notes, the shock of bad language, drama, frustration, anger and humour, plus a special, unexpected appearance.

It also showcases the supreme talents of two of Australia’s finest opera singers –  gifted sopranos Natalie Jones and Antoinette Halloran. My, they are good.

Time and again they hit the high notes seemingly effortlessly. Their polish is something to behold. If I was judging a sing off between the two, I couldn’t split them.

The highest praise I can afford them is that both are supreme exponents of their craft.

I should quickly add that the faces that Natalie pulls, expressing revulsion and disdain, are priceless.

They are complimented by three other female artistes – Emily Bauer-Jones, Carrie Barr and Rachael Joyce – who fill multiple roles with distinction.

Then, there is another multi-character performer, bass-baritone Adrian Tamburini, who brings required arrogance to bear.

The part of Helen’s granddaughter, Bessie, is shared between Scarlett Sheludko, who appeared on opening night and impressed me with her vocal proclivity, and Juliette Tancredi.

The cast tells the story of Melbourne-based Helen’s experience with Sydney cancer sufferer Nicole, whom she offered a place to stay while she was receiving treatment.

Three weeks on, Helen was well and truly over it. She had had enough. She had had her fill and then some.

What started out as a nice gesture, quickly disintegrated into a cacophony of irritation, fury and contempt.

Why? Because Nicole was in denial. She didn’t want to face the harsh reality that confronted her.

She pinned her hopes of a miracle recovery on quackery, which included high-dosage Vitamin C drips, ozone saunas and organic coffee enemas.

Nicole even had herself believing that the pain she was in meant the “treatment” was working.

Further, the clinic head who had promised to look after Nicole was barely there and the establishment seemed like a tin-pot operation.

Visually, set and costume designer Harriet Oxley ensures The Spare Room has impact the moment you enter the theatre.

Surrounding an elegant, hard surface, used as a bed, is light, transparent curtaining, forming a large, rectangle that is open from above.

The first scene involves young Bessie, dressed strikingly in a red, flouncy gown, tap dancing.

Props, including ukuleles, bicycles, a teapot, cup, sauce and juicer, provide an everyday touch and help propel the action.

The mood is set not just by conductor Phoebe Briggs and the 13-strong Victorian Opera Chamber Orchestra, but by the lighting, projection and sound design.

I refer to Paul Jackson, Rhian Hinkley and Samuel Moxham respectively.

The score is somewhat of a liquorice all sorts. Best described as eclectic, myriad styles are in play and not all are melodic.

I was immediately reminded of Benjamin Britten’s The Turn of the Screw, which Victorian Opera staged at the Palais Theatre only last week.

Director Sarah Goodes has done a fine job interrogating the complexities of friendship and care in an emotionally fraught journey.

Two hours including interval, The Spare Room is on at The Playhouse, Arts Centre Melbourne until 10^th October, 2026.