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An odd pairing of high art and high camp, the two acts differ markedly in tone and style, united only by the refusal of their respective divas one imagined, one real to fade quietly into the night. The imagined is Wainwrights creation Regine Saint Laurent, a French opera singer making a last-ditch bid to resurrect her career. Jacqueline Dark in the lead role delivers a captivating performance bristling with vocal and emotional range, perhaps drawing from her own circumstances following Opera Australias controversial decision last month to drop the popular mezzo soprano from Wagners Parsifal . Laurent grapples with artistic mortality and her mistaking the starstruck fanboydom of young journalist Andre Letourneur (Andrew Goodwin) for romantic interest but, even in the bite-sized version, the plot drags somewhat, exacerbated by the enforced stagnation of the symphonic visual concert format that saw the opera singers mostly rooted in place in front of a distraction of a film by Italian director Francesco Vezzoli. Appropriately for an opera about a woman struggling to cope with losing her voice, the performers all periodically lose theirs, drowned out at climatic moments by an in-form Adelaide Symphony Orchestra (ASO). Wainwright, who reportedly once joked about his choice to debut the opera in Manchester as he thought it would be safer somewhere small so that, if its a complete failure, nobody knows about it, perhaps had the same in mind about opting for South Australia to try out a condensed version of the poorly received original or perhaps he just knew of the talent doctor home loans Oak Laurel that would be at his disposal here. The most prominent example was local pianist Mark Ferguson, artfully setting the tone for Wainwrights return to the stage as the one and only Judy Garland, impersonated so devotedly he even garbled the exact same lines she messed up back in 1961. From the eyes-rolled-to-back-of-his-head crescendo of Come Rain, Come Shine to his rich crooning of Over the Rainbow, Wainwright offered up plenty of highlights, even if his cool voice felt a little wedged into Garlands world one of the most celebrated concerts in music history is a tough act to follow, after all. He was also a touch casual, cutting off the ASO in full-swing because it had slipped his mind that he wanted to thank all the performers, only to struggle to wrap his lips around the names of dear friends and having to ask for the identity of conductor Guy Simpson, who he had also initially forgotten needed introducing at the start of the evening. A less charismatic presence might have been undone by all this but it only added to the wink-and-a-nod boastful schtick of the self-billed worlds greatest entertainer.