Review: THE OPERA SINGER at Baxter Studio

THE OPERA SINGER offers audiences an intimate, sharply observed encounter with fame, artistry, and the fragile human being behind the public persona. Framed as an interview between a celebrated opera diva (Fiona Ramsay) and a devoted journalist (Owain Rhys Davies), the play unfolds as a subtle power dance in which revelation and concealment are constantly negotiated.

The journalist, Theo, arrives as an ardent admirer, eager to uncover the “truth” of the woman he has idolised for years. Yet as the conversation unfolds, it becomes increasingly clear how difficult, perhaps impossible it is, to reduce a life to words. His attempts to probe deeper are frequently interrupted, redirected, or dismissed as “stupid” questions by the singer herself. In these moments, the play exposes the tension between journalistic curiosity and the subject’s right to protect her own narrative.

What emerges is a character who is undeniably larger than life, yet deeply human. Beneath the glamour and bravado, the opera singer reveals flashes of fear, insecurity, vulnerability, and self-doubt. These glimpses feel hard-won rather than indulgent, making them all the more compelling.

Fiona Ramsay delivers a masterful performance, demonstrating complete control over voice, physicality, and gesture. Her portrayal captures not only the heightened presence of an operatic diva but also the emotional cost of sustaining such a persona. There is an acute awareness of her own fame, paired with the pain and loneliness that accompany it. Ramsay’s performance is layered, nuanced, and deeply affecting — a reminder of why she remains one of South Africa’s most formidable and respected performers.

The inclusion of Theo as a fully realised onstage presence provides essential balance. This is not a solitary confession or an internal monologue disguised as theatre, but a dynamic interaction. Through their exchanges, the singer alternately deflects and reveals herself, using wit, authority, and vulnerability in equal measure. The tension between interviewer and subject keeps the narrative alive and prevents it from slipping into mere autobiography. Owain Rhys Davies, as Theo, may stand in the shadow of the diva, but he more than holds his own. His performance is grounded and emotionally credible, marked by nuanced facial expressions and finely judged reactions that anchor the exchanges between the two characters. Particularly striking is his ability to shift from awe to ethical uncertainty, allowing the audience to track his internal conflict with ease. His brief moments of singing are delivered with assurance and musical sensitivity, adding another layer of authenticity to the role. 

Janna Ramos-Violante’s writing is tightly constructed, with sharp, often humorous lines that sustain audience interest throughout. The humour is never gratuitous; instead, it serves to illuminate character and to momentarily relieve the emotional weight of the themes explored. As director, Janna Ramos-Violante maintains a confident pace throughout the production, ensuring clarity, momentum, and disciplined control, while drawing strong, finely calibrated performances from both actors. Janna’s lighting design further deepens the atmosphere of the play, using dim, carefully sculpted light and a window gobo to frame the space and suggest private revelations unfolding behind closed doors.

The production’s visual language is elegantly restrained. The simple set — two wingback chairs, a drinks trolley, and a striking chandelier — creates a space that feels both intimate and grand. Costuming follows suit: a dazzling red gown and understated jewellery for the opera singer, contrasted with the journalist’s modest tweed suit. These choices quietly reinforce the power dynamics at play.

Ultimately, THE OPERA SINGER is a thoughtful meditation on identity, legacy, and the cost of artistic greatness. It leaves the audience contemplating not only the allure of fame, but the human fragility that so often lies beneath its polished surface — brought vividly to life through Fiona Ramsay’s exceptional performance.

Performances from 20 January to 7 February 2026 at the Baxter Studio.

Book tickets on Webtickets: https://bxr.mobi/opera R160 - R230pp