Contemporary Communication was a triumphant debut for Bloomhouse Projects. It had an excellent cast that kept me enraptured throughout. Thoroughly enjoyable, it is the best of contemporary opera. Vibration, singing and signing came together as traditional norms were innovatively built upon, and the audience was treated to a sensational night of entertainment. It was the best of inclusivity in the arts. It was a show for hearing and non-hearing alike.

From Stravinsky to Miller-Heidke, Contemporary Communication was not just a masterful performance. It challenged audiences to reconsider what an operatic performance means, and captured my imagination.

The cast was vulnerable, inviting us into the vision they have for the world and the art of opera. Their chemistry was also evident, and it was impossible not to enjoy and be awed by them when you could see that same feeling echoing through each of them to one another.

Jenna Robertson was exceptional. She may have been shoeless to feel connected with the earth, but she soared as she sang. Her self-arranged performance of the traditional Fidgety Bairn in her home dialect of Doric was a special moment that cast aside the traditional focus on the perfect formation of vowels. Lochlan Brown’s piano was masterful throughout. As he invited non-hearing patrons to come down and feel the piano as he played Strauss with aplomb, you could see that he was enjoying it just as much as the audience were. Opera is an art form of many languages, but it was my first opportunity to witness an Auslan performance. Drisana Leviszke-Gray’s physicality was captivating, as she embodied the grace of Opera for all to see.

Bloomhouse has a commitment to providing a pathway for emerging artists, and the impressive Bella Marslen was cast with this aim in mind. Marslen was delightful, and her playful rendition of Menotti’s “Hello, O Margaret” had the audience giggling as much as we were applauding.

The atmosphere was rich, warm and heartfelt throughout – and there wasn’t a weak song in the program. The Auslan interpreters were also excellent and deserve special mention. Bloomhouse has a formidable pairing in charge in Karl Brown and Daniella Sicari. While Brown coordinates things from WA, the in-demand Sicari must pull the strings from abroad. A performance with the Liverpool Philharmonic meant she could not be here for the company’s formal debut.

Bloomhouse Projects’ vision is for innovative and inclusive performances that give the audience something more than they might expect from the traditional spheres in which they operate. With Contemporary Communication, they have achieved just that, and it provides an exciting foundation for future performances. They are a very welcome addition to the Western Australian art scene.