We are absolutely thrilled to have Cheryl Barker and Peter Coleman-Wright and portray the husband-and-wife duo, Dinah and Sam in the one-act opera Trouble in Tahiti by Leonard Bernstein. It forms one half of our 2025 Bernstein & Busoni double bill.
Cheryl's astonishing international career has seen her play most of the iconic lead roles in the opera canon. In this exclusive interview, Cheryl told us what drew him to Trouble in Tahiti and Endangered Productions in particular—plus some lesser know facts.
1. What attracted you to Trouble in Tahiti?
It’s fascinating because it’s one of Bernstein’s early works (1951), and you can sense him still shaping his identity as a composer. You see influences and ideas that reappear more fully in later works. There are traces of Leoš Janáček’s influence, and you get a glimpse of the direction he later takes with Candide and West Side Story.
Vocally, it’s a real challenge. This is one of only two works for which Bernstein wrote both the music and the libretto, and it’s not easy for any voice type—but particularly for Peter who must navigate the full extent of his vocal range—from low to high.
And personally, it’s a special opportunity to perform as a family. Peter and I love working together and grab any chance we can. For the first time, our son Gabriel will be in the same show, playing saxophone. He’s looking forward to performing in an ensemble again too—a change from his Masters in Composition at AFTRS.
2. Why were you drawn to an Endangered Productions performance?
The major theatre venues won’t take risks these days. Endangered Productions gives us a chance to do something different—a lesser-known, more challenging work. We absolutely love that.
It’s a chance to shine a light on the vast, overlooked repertoire that exists beyond the standard works. We think the audience will find this work different and unusual, but still accessible and genuinely enjoyable.
We like Endangered Productions’ approach of mixing professionals and amateurs so Company members can learn from each other. Its inclusion and energy remind us of community theatre, where Peter and I started at a very young age. It was the best training ground in the world—we learnt to be adaptable and resilient. Flats can fall over, people miss cues, or don’t show up, and you must still carry on.
We also run Pacific Opera Studio a training program for young up and coming opera singers and are mentors for the young artist program at Opera Australia, so we are fully on board with Endangered Productions’ commitment to nurturing emerging (and hidden) talent.
3. Can you share a lesser-known fact about yourself?
Yes—actually, three!
Peter and I first met at age 13, performing in The Boyfriend in the title roles as Bobby and Maisie.
We both joined the Geelong Gilbert and Sullivan Society at 14. A year later, when the lead didn’t show up one night, I was thrown into the spotlight—just like 42nd Street!
And finally, we’re both utterly besotted with our miniature schnauzer, Hazel.