Tag Archives: Bill Knight

THE MAGIC FLUTE

★★★★

Wilton’s Music Hall

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

 

 

The Magic Flute

The Magic Flute

The Magic Flute

EXPRESS G&S

Express G&S

★★★★

Wilton’s Music Hall

EXPRESS G&S at Wilton’s Music Hall

★★★★

EXPRESS G&S

“the perfect antidote to the August lull in London theatre”

 

Express G&S is a spoof of all the things we love about comic operas, murder mysteries and music hall, all mashed up together. It’s a good match for the real Victorian music hall that is Wilton’s in London’s East End. The show is a fun evening, gift wrapped by the Charles Court Opera to include three cheeky performers and a master of ceremonies who doubles as the energetic pianist. Express G&S is familiar territory for the Company, and they pull it off with their usual aplomb.

The show is exactly what it says it is—a medley of songs from Gilbert and Sullivan’s comic operas, sung in abridged versions, and produced at speed. Part of the fun is figuring out which operas Charles Court Opera have stolen their musical ideas from, because the lyrics have been changed to suit the murder mystery theme of Express G&S. So forget the plots of Mikado, Iolanthe, and Ruddigore, to name just a few. This story is about a strangely familiar French sounding detective named Philippe Pierrot, traveling on a train in England. When Bridget, the maid responsible for serving teas on the train, discovers that her doily cart has been vandalized, Pierrot is persuaded to take on the case of discovering who could have done such a dastardly deed. Bridget and Reggie, the conductor who loves her, are not above suspicion, either. If you’re already groaning at the outrageous puns and silly rhymes, fasten your seat belts. There’s lots more in store with these lyrical voleurs.

Matthew Kellett is on top form as the dapper Detective Pierrot, and your breath will be taken away by the versatility of the quick role changing Catrine Kirkman (Bridget and other roles) and Matthew Siveter (Reggie and other roles). It’s not just the costumes that get changed either. The variety of roles mean that Kirkman and Siveter have to switch their singing styles as well. They do all this brilliantly, and give Kellett’s magnificent voice (and terrible French—or is it Belgian?—accent) a real run for the money. Director and writer John Savournin keeps the action moving along, although the slenderness of the plot does mean that the show is more than usually dependent on the music to keep things interesting. Lyricist and musical director David Eaton is a real star—a worthy heir of W.S Gilbert in the silly rhymes department. He’s also a wonderfully lively accompanist to the singers. The set, designed by Jessie Huckin, is workmanlike, though a bit lost on Wilton’s sizable stage. Express G&S is an intimate show, set on a train, and Huckin’s set is perhaps better suited to a smaller venue.

Express G&S is the perfect antidote to the August lull in London theatre, when nearly everyone is either on holiday, or up in Edinburgh. Don’t let the deceptive calm of the Big Smoke depress your spirits, however. The Charles Court Opera is here to raise them, and you should hurry on down to Wilton’s while you can. If the show feels short at seventy five minutes, that’s just to whet your appetite for all the good things coming your way later in the year. And you should definitely keep a careful eye out for the annual Charles Court Opera’s panto in December, which never fails to please.


EXPRESS G&S at Wilton’s Music Hall

Reviewed on 15th August 2023

by Dominica Plummer

Photography by Bill Knight

 

 

Previously reviewed at this venue:

 

The Mikado | ★★★★ | June 2023
Ruddigore | ★★★ | March 2023
Charlie and Stan | ★★★★★ | January 2023
A Dead Body In Taos | ★★★ | October 2022
Patience | ★★★★ | August 2022
Starcrossed | ★★★★ | June 2022
The Ballad of Maria Marten | ★★★½ | February 2022
The Child in the Snow | ★★★ | December 2021

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