[THEATRE REVIEW] THE CORONATION OF POPPEA @ Palais Theatre Review
There is so much to get excited about in Victorian Opera’s new production of The Coronation of Poppea.
It is chock-full of skulduggery, subterfuge and intrigue.
Think ruthless ambition and illicit passion.
As director Sam Strong well puts it, Brian De Palma’s classic film Scarface meets 1980s Miami and neo-classical kitsch.
Into that mix you should add ancient Rome and the gods.
Talk about a heady combination … and I assure you The Coronation of Poppea doesn’t let you down.
At the risk of giving too much away, those who created pandemonium – “the bad guys”, to use a generic term – emerge victorious. What? Indeed, they do.
To be candid, there is a lot of dirty dealings going on.
The word ambition doesn’t begin to do justice to centrepiece Poppea’s self-serving ways.
She has powerful leader Nero wrapped around her little finger.
Even though he is married to Ottavia, he is burning hot for Poppea.
Meanwhile, Ottone – Poppea’s former lover – who is still in love with her, is readily cast aside … for she has far bigger fish to fry, and Nero is all too ready to oblige.
Servants and courtiers are forever in the ears of their masters, offering advice that more often than not doesn’t go down well.
And the gods, or in this case, the goddesses are not averse to muddying the waters.
How delicious all this is.
Murder and mayhem follow.
The electrifying score by Claudio Monteverdi, reorchestrated and jazz-infused by Elena Kats-Chernin, has been reworked further to stunning effect by conductor Chad Kelly.
I kept peering at the Victorian Opera Chamber Orchestra who worked their tails off. Bravo!
With magnificent vocal clarity, and the sex appeal and guile that would make serpents scurry, Australian-based Puerto Rican soprano Meechot Marrero dazzles and enchants.
She makes for an unforgettable Poppea that I will long remember.
Samuel Dundas brings heft and bombast to Nero, intent on asserting his authority, while doting on his lover.
Frankly, I was captivated by all 12 performers.
This opera ensures all have their moments to shine and that they do – so, so brightly. Their voices are outstanding: rich and redolent. There is not a weak link.
Anna Cordingley has done an masterful job with the set and costume design.
Six silver statues adorn a semi circular Roman-style set with boudoir and drinks area finding liberal usage. Sex appeal, effeminate, gangster-style and showy costuming are the order of the day.
The lighting design by Matt Scott too is intrinsic to the success of The Coronation of Poppea.
The statues are draped in neon pink and blue, which also encircle the top of the semi-circular conceit where the action takes place. Then keep a watch out for the gold and tinsel.
It is hard to go past modern parallels in terms of the power game at play here. We appear to be living in a society where bad behaviour is rewarded.
Director Sam Strong et al take a bow for Victorian Opera’s The Coronation of Poppea is a towering triumph.
Two hours 20 minutes including interval, it is playing at the Palais Theatre until 4th July, 2026.
Review by Alex First Photography by Jeff Busby