Chamber Made Opera


Meat Market | Arts House
Office 22
44 Courtney Street
North Melbourne
Victoria 3051 Australia


PO Box 302
North Melbourne
Victoria 3051 Australia


+61 3 9090 7095


10am - 6pm
Monday - Thursday



'Opera for a small mammal is a weird and wonderful journey into the indeterminacies of language and of art' - Cameron Woodhead in The Age

'It’s a love letter to art and the power of language… Cameron's performance is intimate, intense and textured' - Ben Neutze in The Daily Review

'Margaret Cameron's 'Opera for a Small Mammal' @LaMamaTheatre makes you want to read, think and create again' - Matthew Lorenzon @PartialDuration

'Cameron is captivating as this elegant, otherworldly creature' - Kate Herbert in the Herald Sun


'Turbulence takes us on an intriguing flight' - Cameron Woodhead, The Age

'The space is perfectly suited to the opera, or the opera to the space, revealing the incredible power of chamber opera to unite disparate environments through artistic aims' - Matthew Lorenzon, Real Time

'From the boarding procedures to the meditative opening sequence, through turbulence to the shock ending, this artistic simulation of an early flight had much to offer' - Heather Leviston, Arts Hub


'The event is immediately domestic and improvised, but the effect is fascinating: it's a re-enactment of a myth that draws out of these humble objects a compelling sense of ritual. I found the performance wholly absorbing, and started thinking about the Lares, the household gods of the Romans, where the domestic sphere is also the site of the sacred.'
Theatre Notes, Review - Minotaur by Alison Croggon

"With the minimum of sources Young crafts a perpetuum of ever-changing interest and subtlety absolutely wedded to the opera’s woven and wooden stage design. As the first part of a trilogy, The Island sets a stunning precedent for the future works, and as Ariadne puts it at the beginning of The Island: “even if I were to die, I would return.” Matthew Lorenzon, Realtime read more


"Another Lament is beautiful and beguiling theatre, buoyed by the rigorous conception and concentrated presence that distinguishes Rawcus' work." Cameron Woodhead, The Age. Read more

"THERE'S a brilliantly impish wit bubbling under the surface of this remarkable little opus that is neither ostentatious nor self-conscious. " Chris Boyd, The Australian. Read more

"Hansen accompanies herself skilfully and inventively on double bass, making the instrument a major part of her slow-burning, sometimes tortured meditation on love...a remarkable show..." Herald Sun. Read more

"Popping my CMO cherry...", runningouthtedoor read more

'...immaculately choreographed tableaux vivants...' Read full the RealTime review here.


'... perhaps the most beautifully judged site-specific work I have seen... By the end, I felt exactly the kind of effect that Octavio Paz claims for poetry - that it takes you from silence to silence, but by the end the silence has changed. It is mysteriously joyous, and profoundly beautiful.'
Alison Croggon, theatrenotes

'A subtle and important achievement pushing the edges of the form in all the right ways.'

'Ironically set in an old Northcote music-hall, this “sound-scape with figures” production (scarily) reminded me of a petty-criminal friend who would break into and rob people’s houses, shower, cook a meal, take a nap and even swim in their pool if they had one.'
The Opera Boys

'It was only a night later that I had a visceral response: a dream in which my house was alive and wielding knives!'
David Maney, blogger: trip the light fantastick (sic)

'For opera aficionados out there, I'm confident you will love this, however if you're a novice like me, or you just like female sopranos, you might want to do some research first.'
Leila @ Theatre Alive

© Daisy Noyes


'Schlusser's domestic pageantry is beautifully designed and fearlessly performed. If his beguiling engagement with Hamlet remains amorphous, we can still delight in this unusual form of artistic patronage and the churn of ideas it has produced.' The Age

'The contemporary planes of house - its huge, white kitchen, its carefully lit back garden and swimming pool - become stages for a haunting: Hamlet exists as a fragmentary memory, distorted glimpses of perverse, operatic passion within a domestic, naturalistic setting...We see a fragmentary narrative of repressed erotic energies invading and exploding in this scene of idealised, aspirational domesticity.' Alison Croggon, Theatre Notes