The Cloak and Dagger is modelled on Puccini’s 1918 opera The Cloak, which is the first segment of a trio of operas. Rather than being set in 1910 Paris, we are transported to 1980s Perth, and instead of being on the river Seine, we are on the Swan river onboard a Crystal swan vessel.

The experience is immersive from the get-go. You enter onboard and are greeted by couple Shaz and Daz (played by Bella Marslen and Liam Auhl) and welcomed into what becomes clear is their engagement party. Shaz greets me like I am an old friend, exclaiming; ‘Oh look! My cousin is here’. We are promptly seated in a gaudily adorned dining area, complete with OTT decorations and clashing pastels—very 80s.

What follows is a fascinating hybrid of opera, comedy and theatre. There is a showcase of vocal performances from each of the characters, each oozing talent. A standout was Charis Postmus, who plays Shaz’s deviant sister Kaz, who is vying for Daz’s attention. She performed an exceptionally sultry rendition of “Cry Me a River” which had the entire audience in captivated silence.

The second half offers a swift departure from the light-hearted tone of the first half. Here engagement party guests Georgette (Jessica Taylor) and Michael (Brett Peart) enter the spotlight. Their voices ebb and flow and take us on a journey of heartache, sadness and longing. Notably, Georgina Burns takes on the role of Georgette’s lover, Louise, after the original performer had to opt out of the show days earlier due to an injury. The re-cast also meant a gender change for this character— ‘Louis’ was now ‘Louise’. Burns learnt the music in a couple of days and brought a striking intensity to the role. The queer love triangle created by the recast further modernises Puccini’s tale.

Worth mentioning is the performance of pianist and musical director George Unkovich, who was outstanding.

I have never been to a Fringe show like The Cloak and Dagger before, truly a journey of drama, lust and infidelity. It is an unforgettable experience, which celebrates the authoritative command that opera can have on an audience.