NZ Opera Presents: Monster in the Maze

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New Zealand Opera are putting community at the heart of their work, and The Monster in the Maze clearly shows how this creative approach and inspiration can thrive.

This contemporary opera by Jonathan Dove, inspired by the classic Greek myth of Theseus and the Minotaur, is written for community and youth performers. I was genuinely impressed not only by the quality of the production but also by the performers’ skills, which were exceptionally well-honed. Opera on stage is no easy feat, yet this interpretation was a joy to watch.

After defeating the Athenians, King Minos punishes the city by demanding its youth be sent each year to be devoured by the terrible beast at the centre of his island’s labyrinth. He boasts that his great monster “will eat your future, it will rip your hope, it will stamp your youth, your children in the sand.” But as the vengeful king soon learns, these young people will not accept their fate without a fierce challenge. Theseus steps forward, and with the support of volunteers, is farewelled into the labyrinth.

At its heart, the opera tells the story of a city living in fear of a monstrous creature hidden deep within the maze. A standout element for me was the innovative integration of maze graphics with the subtitles. The lighting and visual design were exceptional, capturing both the twisting labyrinth and the emotional journey. Particular credit goes to Abe Fisher from Illuminati NZ, the audio-visual technician. The dual scene between Theseus and the Minotaur became pure theatre of the mind, brought vividly to life through the combination of graphics and music.

With such a large cast, including some talented opera performers and an outstanding youth choir, the production was enthusiastic, polished, and uplifting. It’s exciting to see—just as I have in other opera productions this year—new talent stepping confidently into roles with remarkable professionalism.

I attended with a fellow stage musician, and we both agreed the production was a success. While she admired Jonathan Dove’s score, I was particularly struck by Ipu Laga’aia’s portrayal of Theseus: a strong, personable character. Sarah Castle, as his mother, also gave a memorable and heartfelt performance. The ethnicity of the “Monsters” lent the work a relatable Pacific resonance, something that feels vital in today’s pursuit of the entertainment dollar—connection matters.

Even with its short running time of around an hour, The Monster in the Maze captured the best of staged opera with a clear, compelling story of resistance, justice, and the strength of community. It was engaging, accessible, and a thoroughly enjoyable evening out.

This was a team effort in every sense, and thanks must go not only to the performers but also to the creative and music teams, as well as the crew working tirelessly behind the scenes. With The Monster in the Maze, New Zealand Opera have started something special—and it’s good.