A Siegfried & Roy Opera!

How do you tell the story of the most successful magic duo of the 20th century—a story that intertwines unprecedented success with shocking tragedy? Two playwrights in Australia found a unique answer: transform it into an opera.

Siegfried and Roy: The Unauthorised Opera brings the lives of the iconic magical duo to the stage in a wholly unexpected medium—opera. Yes, you read that right. Naturally, we had to find out more.

The opera ran through January as part of the Sydney Festival. Melbourne-based Luke Di Somma composed the music and co-wrote the script with Constantine Costi. The show tells the story of Roy Horn and Siegfried Fischbacher, portrayed by Kanen Breen and Christopher Tonkin, respectively. The show was well-received by audiences and garnered highly positive reviews.

Siegfried Fischbacher and Roy Horn were born in post-World War II Germany. They grew up in challenging environments with violent fathers and limited prospects. Both longed to escape their circumstances: Siegfried pursued magic, while Roy developed a profound connection with animals.

Their paths crossed in 1959 aboard a cruise ship, where Siegfried worked as a magician and Roy as a steward. After witnessing Siegfried perform the classic rabbit-from-a-hat trick, Roy suggested swapping the rabbit for a cheetah. They performed the illusion and were fired from the cruise before going on to become the world's most successful magic act.

Siegfried and Roy gained fame in Europe before moving to Las Vegas in 1967. Their groundbreaking residency at The Mirage Casino & Hotel, launched in 1989, redefined magic shows with its staggering $28 million budget. The duo signed an $80 million contract to perform six shows a week, 44 weeks a year.

The show’s scale was unprecedented, featuring a large team of collaborators and, most famously, exotic animals—tigers, lions, and elephants. These animals were more than stage props; they were an integral part of the duo’s lives. Roy, in particular, formed an almost mythical bond with them, even sleeping alongside some of the big cats.

Tragically, their career came to a sudden halt in 2003 when a tiger named Mantacore attacked Roy during a performance, leaving him partially paralyzed. The incident sparked intense debate about the use of live animals in entertainment and marked the end of an era.

Now, the duo's story has been brought to life on stage. The Sydney production blends serious and ironic elements, bringing to the stage characters and themes that are simultaneously over-the-top and profoundly tragic.

The illusions in the show evolve, starting with simple tricks from their early years and growing increasingly elaborate as the story follows their rise to fame.

Adam Mada is the show's magic director and designer:

"Given the production’s relatively small arts budget, we knew from the start that recreating Siegfried and Roy’s grand illusions was out of the question. Additionally, for legal reasons, all the magic had to either be original or based on standard pre-existing commercial props—we were not permitted to replicate Siegfried & Roy’s actual routines. […] One fun challenge was designing several magic routines for young Siegfried. These tricks had to be entertaining but also slightly clichéd or unimpressive, emphasizing that Siegfried, while a good magician, only truly found his spark once he began working with Roy."

We were struck by the way they depicted the use of animals in magic, opting for a full-size puppet animal. This choice reflects a growing trend in live productions. Adam Mada shared these insights behind the decision:

"The question of how to represent the big cats was a major topic of discussion from the very beginning. Using multiple different cats posed logistical and narrative challenges, so we ultimately decided to focus solely on Mantacore, as he was essential to the story. He was represented by three extraordinary puppets, designed and built by Erth Physical Theatre Company: Baby Mantacore—a beautiful hand puppet manipulated by a young Roy); Life-sized Mantacore—the primary version of Mantacore used throughout the show); Demonic Mantacore ("DeMantacore”)—A terrifying, oversized puppet representing the moment when Mantacore dragged Roy offstage.”

The use of fake animals has a long history in live entertainment, with Cirque du Soleil being one of the most prominent examples (the company proudly claims to have never used live animals in its shows).

American magician David Williamson recently took part in Circus 1903, a production featuring lifelike elephant puppets designed by the team behind War Horse. Many magicians will have seen Williamson perform with his puppet raccoon, too.

It seems that using puppets can be equally, if not more, impressive than using live animals. However, it's easy to believe that many would protest the use of live big cats, especially in a show with a story like this.

Adam shared details about the audience's reaction:

"The level of detail in Mantacore’s construction was remarkable—the stripes on his white fur coat were meticulously matched to the real-life Mantacore. This attention to detail, combined with the expressive puppetry, resulted in a breathtaking stage presence. The audience response was overwhelmingly positive—many were captivated by the realism and artistry of the puppetry, which brought an emotional depth to the show’s narrative."

Puppets simplify production logistics, sidestep legal restrictions, and help avoid potential public backlash.

Productions like the Siegfried and Roy opera do more than tell stories about magic and magicians; they shape public perception and, at times, define a legacy. While this is often perfectly fine—if not beneficial to the exposure of the craft—it’s something to be mindful of.

While some of the most accurate magic historians share their knowledge within the community, large-scale productions, and Hollywood films often leave a more lasting impression on the general public.

A notable example is Harry Houdini. His story has inspired countless films, books, and live shows, cementing his name among laypeople. Tom Cruise was once rumored to be attached to a biopic movie playing Houdini. Among the many attempts to depict his life, one could have indeed been a game-changer.

In the early 2000s, theater set designer David Rockwell began developing a musical about Houdini’s life. He pitched the idea to Hugh Jackman in 2009, who agreed to play Houdini. The production quickly attracted some of the biggest names in the industry, including screenwriter Aaron Sorkin (The Social Network) and composer Danny Elfman (Forrest Gump), who was later replaced by Stephen Schwartz (Wicked).

Despite the impressive team and years of effort, the production stalled. By 2013, both Sorkin and Jackman had left the project. While the musical never came to fruition, the idea of a Broadway show about Houdini continues to circulate among some of the most talented creatives in the business.

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