THE MAGIC FLUTE
Wilton’s Music Hall
★★★★
“It is an ensemble piece, and the voices are all as fantastic as the libretto is fantastical”
When February draws to a close and we’ve just about had enough of the relentless drops in temperature and dark nights, we inevitably start dreaming of escaping to more tropical climates. The Creole-tinged doorway with its carved panels set in the crumbling façade of Wilton’s Music Hall currently provides such a gateway. For beyond the worn stone and peeled paint, we find ourselves wandering into the heart of the jungle. Simon Bejer’s lush, evergreen set (adapted for this revival by Lucy Fowler) draws us right into the centre of Charles Court Opera’s reinterpretation of Mozart’s “The Magic Flute”. At first, we don’t notice the figure entwined in a coil of vines centre stage, until the piano shifts from the minor to the major chords and the three attendants of the Queen of the Night swoon over the handsome figure that is Tamino (Martins Smaukstelis), a rather posh explorer lost in the wilderness and confusion.
There is plenty of opportunity for the audience to become lost as we try to follow the fantastical narrative, but the clear-cut performances offer a solid guide through the overgrown and illogical plot twists. John Savournin’s direction lets the dialogue and libretto cut through, highlighting the comedy of the piece. And although we might sometimes miss the heightened dynamics of a full orchestra, David Eaton’s solo piano accompaniment generously supports the fine voices on stage. There is a simplicity to the staging that is camouflaged by clever use of puppetry and masks, and with Ben Pickersgill’s atmospheric lighting this is a lush visual production.
Smaukstelis, as Tamino, is a little boy lost. A little bit posh, and a lot out of his depth. But never fear, Matthew Kellett’s sprightly Papageno pitches up, full of Cockney swagger and a zest for claiming undue credit for rescuing the hapless Tamino. It isn’t long before they are both entangled in the adventure – Papageno looking for love and Tamino having it inexplicably thrust upon him in the form of Pamina (Alison Langer), held captive by the imposing Sarastro. Langer’s Pamina is vulnerable and wide-eyed with an even wider Soprano range that is invariably moving. Peter Lidbetter’s Mohican-headed Sarastro complements her with rich base tones, while the full company fill all the spaces in between. It is an ensemble piece, and the voices are all as fantastic as the libretto is fantastical.
If the story comes across a touch confounding and convoluted, the characterisation shines bright. Eleri Gwilym’s Queen of the Night is part Amazonian warrior and part Voodoo priestess. Joe Ashmore, as Sarastro’s ill-fated, hard-done-by Monostatos, is a bit of a lecherous cad, yet his tongue-in-cheek portrayal is somehow endearing. When Sarah Prestwidge’s Papagena makes a late appearance to steal her male namesake’s heart, the puppetry and costume take centre stage, and the magic of Mozart’s opera are more than glimpsed at. It is a small and pared down production, but its inventiveness enchants us. John Savournin’s and David Eaton’s modern English version harks back to the traditionalism of its message but feels bang up to date. The crux of the story seems to focus on the advantages and merits of wisdom. Of patience and knowing when to keep quiet instead of repeating unqualified false truths. And above all of learning not to take everything you hear at face value.
It’s a jungle out there indeed. But every now and then it’s possible to escape for a couple of hours and get lost in escapism and entertainment. Charles Court Opera know how to deliver, and with “The Magic Flute” they have once again conjured magic.
THE MAGIC FLUTE
Wilton’s Music Hall
Reviewed on 26th February 2025
by Jonathan Evans
Photography by Bill Knight
Previously reviewed at this venue:
POTTED PANTO | ★★★★★ | December 2024
THE PIRATES OF PENZANCE | ★★★★ | October 2024
THE GIANT KILLERS | ★★★★ | June 2024
A MIDSUMMER NIGHT’S DREAM | ★★★★★ | April 2024
POTTED PANTO | ★★★★★ | December 2023
FEAST | ★★★½ | September 2023
I WISH MY LIFE WERE LIKE A MUSICAL | ★★★★★ | August 2023
EXPRESS G&S | ★★★★ | August 2023
THE MIKADO | ★★★★ | June 2023
RUDDIGORE | ★★★ | March 2023
