Fat Pig: The Opera review

Fat Pig: The Opera is a chamber opera by composer Matt Boehler and librettist Miriam Gordon-Stewart, which is based on Neil LaBute's 2004 play. When sparks fly between Tom and the smart and confident - but fat - Helen, he grapples with defending their relationship against a harsh, image-obsessed workplace culture. As pressure mounts, he’s forced to choose between love and the shallow approval of his toxic colleagues.

Directed with clarity and care by Kate Millett and presented by Forest Collective and BK Opera, this Australian premiere of Fat Pig presents a reflective and affecting opera that explores body image, love, and social expectations through expressive music and storytelling.

While the play has existed well over a decade before the opera version was created, Boehler ensures the music doesn’t simply underscore the action, but that it drives it, forcing us to sit with the tension simmering beneath the surface. Musical Director Evan J. Lawson leads a tight ensemble of musicians on violin, viola, cello, clarinets, and percussion, and wrings every drop of feeling from the mix of instruments. The score is full of warmth and affection but also anxiety and contradiction and Lawson brilliantly captures the internal chaos of characters who are trapped in their own understanding of shame and desire.

Soprano Amanda Windred is a delight as Helen, the fat woman who is looking for love and willing to do anything she has to for it. Her rich voice brings tenderness and depth to the character’s vulnerability and her performance conveys a heartfelt honesty that easily draws the audience deep into Helen’s world.

Michael Honeyman stepped into the role of Tom, Helen’s romantic interest, just days before opening night and delivers an admirable performance under the circumstances. Understandably still on script, much of the emotional heavy lifting falls to Windred, who handles it with impressive strength and nuance. Allowances need to be made for this unforeseen situation (and the show must go on!), but the final scene struggles to fully convey the fallout between Helen and Tom, as they reach a critical point in their relationship. Honeyman’s check ins with Lawson and the orchestra, combined with limited eye contact or engagement with Windred, breaks the intimacy required. It’s regrettable this production only has a three-night run, as with more time to learn his lines and settle into the character, the chemistry between them could have truly shone.

Daniel Szesiong Todd is a force as Carter, perfectly capturing the arrogant, self-absorbed swagger of Tom's co-worker. His voice cuts through with assured precision, adding an edge that suits the role’s brash energy. Similarly, Belinda Dalton gives a solid turn as Jeannie, the sharp-tongued, judgemental and bitchy colleague to Carter and Tim. Her clear, focused vocals fit well within the small ensemble, complementing this setting.

The set design by Max Bowyer clearly establishes the various locations, from office spaces to cozy bedroom encounters and wide-open beach settings. Simple props are brought on and offstage smoothly, with music interludes marking scene transitions. Oliver Hall’s vibrant costumes adds splashes of colour and styles that vividly define each character’s personality.

Fat Pig: The Opera may be modest in scale, but it packs a punch with its intimate storytelling and thoughtful musical direction. It offers a sincere exploration of love, body image, and social pressure that resonates well beyond the walls of the venue. With strong performances, a moving score, and clever design, this is a promising addition to contemporary opera, and another notable achievement from Forest Collective and BK Opera in bringing innovation and fresh perspective to the art form.

Show Details

Venue: fortyfive downstairs, 45 Flinders Lane, Melbourne

Season: until 8 June | Sat 7:30pm, Sun 5pm
Duration: 100 minutes

Tickets: $70 Full | $50 Concession
Bookings: fortyfive downstairs

Image credits: Kate Cameron