Eddie Perfect and Lyndon Watts Take Centre Stage in OA’s CANDIDE
When was the last time an operetta promised to merge satire, burlesque flair, and an endearing sense of optimism into one vibrant evening of theatre? Enter CANDIDE, Leonard Bernstein’s boundary-pushing masterwork, which is about to light up the Joan Sutherland Theatre at the Sydney Opera House. Featuring Eddie Perfect and Lyndon Watts in leading roles, this much-anticipated production opens on 20 February 2025 and runs through to 14 March, marking a rare chance for Sydneysiders to experience Bernstein’s witty, thought-provoking creation in a truly unique setting.
Fast-paced, funny, and peppered with memorable music, CANDIDE combines the best of comedic theatre and grand opera. For audiences that crave a bit of everything—dazzling vocal performances, clever satire, and top-tier stagecraft—this new staging by award-winning director Dean Bryant promises to tick every box. Add to that a cast peppered with household names, a newly imagined post-apocalyptic setting, and lavish costumes, and you have the makings of a season highlight that no theatre fan will want to miss.
The Creative Team’s Bold Vision
When an operetta is described as “brilliant” and “satirical,” many aficionados immediately point to Leonard Bernstein’s CANDIDE as Exhibit A. Inspired by Voltaire’s classic novella, the show is a fast-paced philosophical journey following an overly optimistic young hero who comes face to face with life’s harsh realities. Bernstein’s score underscores each escapade with melodic panache—from the lively overture that often appears in orchestral repertoires worldwide, to the iconic soprano showpiece Glitter and Be Gay.
Director Dean Bryant—whose name will be familiar to fans of Australian theatre for his innovative takes on musicals like SWEENEY TODD and adaptations with the Victorian Opera—brings a playful, burlesque-style staging to the piece. The production is set in a post-climate apocalypse, an audacious backdrop that amplifies the show’s themes of resilience and human folly. Costume designer Dann Barber heightens this environment with a collision of renaissance garments, futuristic touches, and distressed textiles, while Matt Scott’s lighting design evokes the dual spirit of cabaret decadence and post-disaster gloom. Choreographer Freya List injects a dynamic sense of motion into the performance, blending comedic timing with energetic dancing that transitions seamlessly from scene to scene.
A Blend Of Familiar Faces And Rising Stars
Heading the roster is Eddie Perfect, famed composer and stage star, whose Broadway credentials include the Tony-nominated score for Beetlejuice The Musical. In CANDIDE, Perfect occupies dual roles: the narrator Voltaire and the incurably optimistic philosopher Pangloss. Anyone who has seen him perform knows he brings warmth, comedic sharpness, and a dash of unpredictability to everything he does. To witness him in an operatic satire on the Sydney Opera House stage is sure to be a highlight of the season.
Also taking centre stage is Lyndon Watts as Candide, fresh off his lauded performance in HAMILTON. Watts has established himself as a top-tier musical theatre performer, and his turn in Bernstein’s vibrant piece looks set to reinforce his status as one of Australia’s finest talents. His Candide is at once naive and earnest, guiding us through the character’s global adventures and misfortunes. If you’ve not yet seen Watts in action, this should be a fitting introduction to his charisma and vocal finesse.
Cunegonde, Candide’s love interest, will be brought to life by Annie Aitkin, whose resume sparkles with crossover musical theatre credits. This casting is particularly exciting for opera fans who will see Aitkin again in Handa Opera on Sydney Harbour’s GUYS & DOLLS as Sarah Brown. In CANDIDE, she will no doubt dazzle with the coloratura fireworks of Glitter and Be Gay, a challenging aria that demands comedic brilliance and vocal agility in equal measure.
Further rounding out the company is Euan Fistrovic Doidge as Maximilian, making his Opera Australia debut after star performances in musicals like PRISCILLA QUEEN OF THE DESERT. Meanwhile, Eddie Muliaumaseali’i debuts at the Sydney Opera House as Cacambo, bringing a wealth of experience honed over 14 performances in Opera Australia’s National Tour. For those craving a comedic turn or a surprising cameo, keep an eye on these two. They’re set to bring additional life to an already energetic ensemble.
Orchestral Grandeur And Spirited Vocals
From the moment the overture begins, the influence of Leonard Bernstein can be heard in its playful rhythms, jazzy intervals, and buoyant orchestrations. Leading the OA Orchestra is choral conductor Brett Weymark, one of Australia’s most respected musical directors. Known for his work in bridging the gap between classical choral traditions and contemporary theatre, Weymark looks uniquely positioned to bring out all the hidden charms in Bernstein’s score.
The music in CANDIDE demands versatility: comedic ensemble numbers must be bright and crisp, while the meditative finale Make Our Garden Grow requires depth and sincerity. Given that the piece merges comedic narratives with philosophical undertones, the orchestra has a tall order—each note must illuminate the story’s satirical edge while still allowing for genuine emotional resonance. Expect to hear horns braying with comedic swagger one moment, then hushed strings conjuring pathos the next.
A Post-Apocalyptic, Burlesque Spin On Voltaire
Though many adaptations of CANDIDE keep the storyline in a somewhat classical or vaguely period setting, this production shakes things up by envisioning a world after climate disaster. The idea finds comedic synergy with Voltaire’s biting commentary: as Candide clings to his optimism, the planet around him falls apart—quite literally.
Thanks to director Dean Bryant’s creative team, the show’s visual design borrows from old-world Europe while embracing a futuristic sense of decay. The costumes may initially appear renaissance-inspired, but look closer: artful distressing, upcycled fabrics, or neon flourishes suggest a global meltdown in the recent past. This tension between traditional and contemporary is exactly what Voltaire would have loved—he relished poking fun at the complacent attitudes of his day, and in today’s environmental challenges, we find a modern parallel that resonates strongly with an Australian audience.
Why CANDIDE Endures
Adapted from Voltaire’s 1759 novella, CANDIDE has experienced countless revivals, rewrites, and rearrangements since Bernstein first tackled it in the mid-20th century. Each new version shifts the emphasis, sometimes playing up comedic elements, other times focusing on its philosophical heart. Yet a few core ideas consistently shine: the folly of blind optimism, the resilience of the human spirit, and the notion that one’s best course of action might simply be to “make our garden grow.”
That final sentiment resonates with many in the modern era, especially when talking about climate change. This production unites that idea with a flamboyant sense of adventure and comedic hijinks, reminding us that even as the world falls to chaos, laughter and hopeful action can keep us afloat. The show’s dynamic structure—jumping from lavish royal courts to dangerous battlegrounds—mirrors the sense of whiplash society often feels in turbulent times. In that way, CANDIDE remains surprisingly fresh for a piece that debuted decades ago.
What To Expect From Your Evening Out
Any night at the Sydney Opera House is already an experience, but add a Leonard Bernstein score, a comedic burlesque aesthetic, and a cast of all-star performers, and you’re looking at an unforgettable outing. From the first playful bars of the overture, the audience will be whisked into Candide’s wide-eyed world, encountering outlandish characters, improbable escapes, and pointed social commentary.
One moment you may be laughing at Pangloss’s ludicrous theories, the next marvelling at the pure vocal acrobatics of Cunegonde as she tackles Glitter and Be Gay. As you settle into your seat in the Joan Sutherland Theatre, the show’s post-apocalyptic set design will offer a jolt of surprise—this is no dusty relic of classical opera staging, but a living, breathing reflection of contemporary anxieties. Expect comedic banter, witty lyrics, and those sweeping orchestral highlights that only Bernstein can deliver.
A Finale Filled With Optimism
In the end, what sets CANDIDE apart is its blend of biting critique and genuine warmth. Yes, the title character repeatedly stumbles into horrifying situations, but he never quite loses that sense of wonder and belief in a brighter world. The show’s final number, Make Our Garden Grow, might just leave you feeling uplifted, a fitting close to a production that delights in its own contradictions—serious but silly, grand yet intimate, prescient and timeless all at once.
Sydney audiences have the rare chance to see this tour-de-force mix of comedic theatre, classical operetta, and post-apocalyptic whimsy all under one roof. If you’re looking for a production that invites you to think, laugh, and maybe even question the nature of optimism, then place your trust in the talented cast, crew, and creative minds behind CANDIDE. It’s an adventure that starts in your seat at the Opera House but could spark conversations well beyond the theatre doors.
No matter how many times CANDIDE has been performed around the globe, the allure of Bernstein’s score and Voltaire’s satire remains as strong as ever—especially with a fresh twist. As you exit the Joan Sutherland Theatre, you might feel the same pang of curiosity that Candide experiences throughout his journey: is this indeed “the best of all possible worlds,” or do we keep striving to make our own gardens grow against the odds?
With Eddie Perfect, Lyndon Watts, and a stellar creative team at the helm, this production promises to bring renewed energy to a beloved classic, leaving you humming the overture and pondering the play’s deeper messages in equal measure. So get ready for a night of brilliant music, cheeky wit, and surprising new perspectives—CANDIDE is about to stake its claim as one of the standout events in Sydney’s theatre calendar. And in a city that thrives on creative renewal, it couldn’t have arrived at a better time.
February 20 – March 14, 2025 | Joan Sutherland Theatre, Sydney Opera House
Tickets: CLICK HERE
