High on the list of Victorian Opera (VO) Artistic Director (AD) Stuart Maunder’s visions for the company is the presentation of neglected Australian works. As former AD of State Opera South Australia, Maunder staged Australian composer Martin Wesley-Smith’s and librettist, twin brother Peter’s, Boojum! in 2019, directed by Joseph Mitchell.
Maunder’s obvious fondness for the work is evident, with a new production opening a nine-performance season on Friday evening at VO’s Horti Hall. This time, it is Maunder himself directing.
Originally premiered at Adelaide Festival of the Arts in 1986, the brothers based their opera/musical comedy on literary nonsense icon Lewis Carroll’s The Hunting of the Snark, with a little helping of Alice’s Adventures in Wonderland in a work that mildly reflects upon the life of the Reverend Charles Dodgson, Carroll’s common name.
Dual identities, quirky characters, hidden meanings and a sizeable portion of confusion come with it. Carrollian nonsense marches on through, in what is a witty, deliciously rhymed libretto and music – a cornucopia of styles with vaudeville and music hall moods plentiful – that’s always beautifully melodious and entertaining. Nevertheless, at 100 minutes of questioning what is the Snark and what is the Boojum in theatrical form, it begins to feel a tad lengthy.
Boojum! follows an eccentric crew on a fantastical Snark hunt led by The Bellman. As Carroll’s imagination contends with Dodgson’s restraint, childhood wonder and adult reality contend with each other. Along the way, as the hunt becomes darker, signs of Carroll’s personal anguish cut through – as well as a love of photography that includes a creepy predilection for innocent young girls.
One of them, the real-life Alice Liddell who was the inspiration for Alice in Carroll’s books, feels ever-present as both. Adding to the density, there’s Alice as the adult Mrs Hargreaves who has a thought or two about the past. Reminded that things are not seemingly what they are – or vice versa – it can leave one rather tangled in the process.
For a small audience of less than 100, Maunder’s staging packs plenty in for the journey. In a work that serves well as a vehicle for emerging young artists, Maunder steers a cast of 10 and a chorus of 18 enthusiastic participants with suitably focused and lively results.
Set and costume designer Ishan Vivekanantham comes to the party with ample visual stimulation. The performance begins with Dodgson at a game of floor chess that reappears a couple of times, referencing Through the Looking-Glass, and What Alice Found There in which Alice as, a white pawn, aims to become a queen. You wonder what Carroll’s pursuits entailed!
A two level structure dominates on the left, outfitted with a jumble of chairs and yellow gum boots which come in handy for later comic tap dancing. Amongst the whimsical, colourful and eclectic attire that makes for an eye-catching norm, an overhead projector (I’d forgotten how prevalent they once were in academic instruction) comes in handy for some live cartoonish drawings. And Robert Brown reads the libretto’s moods attentively with a sterling lighting design.
To the right, with a looming white canvas at the rear, conductor Warwick Stengårds presides over a small band of three shaping a vibrant account with Phoebe Briggs and Tom Griffiths on piano, Nic Synot on double bass and Peter Neville on percussion.
Vocally, the full company shines in the rousing opening ensemble The Hunt!, a dashing number that sets the evening’s manic tone.
Leading the cast, veteran of the stage David Hobson takes on the dual role of Carroll and Dodgson with just enough theatrical flair to charm as Carroll yet lacks the fullness and resonance in his tenor expected of his showman persona. With difficulty discerning in which guise Hobson played, the line between Carroll and Dodgson often seems blurred.
As Alice, Rachael Joyce exudes radiance and poise, her sweet, youthful soprano pleasingly offsetting Hobson’s introspective musings. As her older self, Mrs Hargreaves, soprano Michaela Cadwgan impressed with strong dramatic vocals and wistful reflection.
Warm, honeyed baritone Bailey Montgomerie, as The Bellman, leads proceedings with genial authority. Bass-baritone Darcy Carroll is a cracker as Al, the American, pairing as Tweedledum with endearing tenor Joshua Morton-Galea’s Tweedledee in a rollicking good rendition of It Ain’t No Fun to Be a Twin – a clever reflection on identity and healthy sibling (Wesley-Smith?) rivalry.
Morton-Galea similarly gives Carl, The Russian, heaps of comic pizzazz and, as Caterpillar, his I’m a Caterpillar of Society (Not a Social Butterfly) is another performance highlight. Other supporting characters, including Syrah Torii’s macabre-looking but clownish The Butcher, are generously portrayed.
Ultimately, under Maunder’s lively direction, the cast’s enthusiasm carry the evening, even when the path through Carroll’s bizarre wonderland grows a little muddled. What looks like a fun show for kids is a show that’ll perplex most grown ups – another reminder of things not seemingly being what they are.
Boojum!
Hemstritch Studio – Horti Hall, 31 Victoria Street, Melbourne,
Performance: Friday 7 November 2025
Season continues to 23 November 2025
Information and Bookings: www.victorianopera.com.au
Images: David Hobson and the Cast of Boojum! – photo by Casey Horsfield | Lachlan Bartlett, Chloe James, Syrah Torii, Bailey Montgomerie, Alessia Pintabona and Nicholas Matters in Boojum! – photo by Casey Horsfield | Darcy Carroll and Joshua Morton-Galea in Boojum! – photo by Casey Horsfield | Rachael Joyce in Boojum! – photo by Casey Horsfield
Review: Paul Selar