The Telephone & Gentleman’s Island

“Together, the pieces make for an entertaining combination delving into the short, comedic side of opera. While the performances across the board are quite incredible, special praise has to be given to the accompanist performing on piano, Nathaniel Kong, who’s work in both pieces was nothing short of astounding.”

Matthew Raven, The Buzz From Sydney
“Making good use of the whole stage area with elegant set, the couple Lucy (Samanta Lestavel) and Ben (Ian Warwick) display good theatrical chemistry. Their use of gesture and facial expression are delightfully deliberate and melodramatic.”

Paul Nolan, Sydney Arts Guide
“Ryan O’Donnell (Mr Grey) and Hayden Barrington (Mr Somers) give a hilarious and animated portrayal of shipwrecked gentlemen still holding onto the flotsam of formal introduction etiquette.”

Paul Nolan, Sydney Arts Guide

Performed at the Independent Theatre, January 2016

The Telephone (1946)

Gian Carlo Menotti

Synopsis

Ben has just one goal: to propose to his beloved Lucy before he leaves on a long trip. There’s just one problem—her telephone won’t stop ringing.

Gian Carlo Menotti’s charming one-act opera The Telephone is a witty, light-hearted commentary on modern (or not-so-modern) love and technology. As Ben tries again and again to get Lucy’s attention, he finds himself repeatedly interrupted by her endless conversations. Frustrated but determined, he eventually hatches a plan that might just cut through the noise.

Brimming with melodic flair, comedic timing, and a touch of romantic absurdity, The Telephone is a delightful snapshot of love in the age of constant connection. Performed in English and featuring a sparkling score, this bite-sized gem delivers big laughs and an even bigger heart—all in under thirty minutes.

Gentleman’s Island (1958)

Joseph Horovitz, Libretto by Gordon Snell

Australian Premiere

Synopsis

What happens when British decorum is stranded on a desert island? Joseph Horovitz’s Gentleman’s Island is a delightfully absurd one-act opera that pokes fun at the rituals of politeness and the pitfalls of pride.

Two English gentlemen find themselves shipwrecked on the same tiny island, but there’s a catch—they haven’t been formally introduced, and thus, it would be most improper to speak. Through overheard musings and a mutual acquaintance named Robinson, they slowly navigate the social minefield of etiquette, eventually deeming conversation acceptable. Cooperation follows, albeit reluctantly, and peace is restored—until Robinson himself arrives at the head of a convict-led rescue mission.

Faced with the horror of being rescued by criminals, the gentlemen reject salvation, snub each other once again, and resign themselves to a lonely but dignified end.

Witty, sharp, and brimming with British satire, Gentleman’s Island is a hilarious study in manners taken to their most illogical extremes. With clever libretto, brisk pacing, and a chamber orchestra score full of charm, this rarely-performed gem offers a thought-provoking and thoroughly entertaining take on human absurdity.