THE MAGIC FLUTE
Arcola Theatre
★★½
“While a strong cast and some inventive touches shine through, it currently lacks the cohesion and polish to fully take flight”
Mozart’s final opera, ‘The Magic Flute’, receives a spirited staging from Ensemble OrQuesta for Grimeborn Opera Festival. While the production showcases strong performances and imaginative intent, its ambition to reimagine the work for the 21st century doesn’t quite come together.
Transported through his radio into a magical world of music, Tamino is charged with rescuing Pamina, the Queen of the Night’s daughter. But all is not as it seems, and his quest becomes a test of courage, self-control and perseverance.
Mozart’s glorious score and Emanuel Schikaneder’s German libretto receive a contemporary refresh from director and conductor Marcio da Silva. The spoken dialogue is loosely rewritten in English, making the ‘Singspiel’ more accessible and humorous – though some gags, particularly recurring references to the “ladies”, miss the mark. The pared back Hastings Philharmonic Orchestra features strings, woodwind and piano – though seems to lack the advertised period instruments. The orchestra is larger than one might expect for the Arcola, yet the sound never quite fills the space, perhaps due to its placement behind a bank of seats. Even so, da Silva draws out considerable energy and precision: tempos are brisk, attacks are crisp, and the musicians demonstrate ample flair and technicality.
da Silva’s direction embraces the opera’s inherent absurdity with a welcome emphasis on humour. Yet the production feels a little under-rehearsed, with singers frequently lagging the orchestra’s brisk tempi, and the run time overshooting by 30 minutes. While the comedy usually lands, other choices are less successful – Papagena’s elderly voice is rather pantomime, and Papageno’s whistle, initially amusing, becomes a little wearing. The physical theatre also needs work. Despite a reputation for inventive movement, the staging feels surprisingly static – especially Tamino’s climactic trials. Involving a dedicated fight director could add more impact and make some moments feel safer.
The cast is strong. John Twitchen brings a bright, confident tenor and convincing presence to Tamino, while Helen May’s assured Pamina moves seamlessly between tenderness, defiance and despair, culminating in a deeply affecting “Ach, ich fühl’s”. Flávio Lauria’s Papageno is a likeable comic foil, brimming with irrepressible energy, and Vedat Dalgiran lends Sarastro a sonorous gravitas. Rosemary Carlton-Willis, Jordan Gascoigne and Juliet Telford blend beautifully as the Three Ladies, demonstrating impressive unity. Juliet Petrus steals the show as the Queen of the Night, pairing regal menace with agile coloratura in an accomplished “Der Hölle Rache kocht in meinem Herzen”. The Three Boys are enchantingly puppeteered and sung by Alfie Alun Hughes, Antônio Ulucan da Silva, Artur Rebelo, Christopher Madden, Florence Milton and Lara Ulucan da Silva, bringing a welcome sense of wonder whenever they appear.
The design offers flashes of imagination but lacks cohesion. The programme cites ‘Labyrinth’ as a key influence, reflected in the 80s-inspired (if slightly ill fitting) costumes, dreamlike framing and use of puppetry. However other elements feel less considered, such as the dominating yin-yang symbol which never comes into its own, and the lack of unified aesthetic in the chorus costumes. The lighting feels more functional than fantastical, relying on colourful washes to establish mood. The production’s most successful design element is the Three Boys – directed by Orlando Bishop, the puppets are charmingly manipulated, providing some of the evening’s most memorable moments.
Ensemble OrQuesta approaches ‘The Magic Flute’ with imagination and an admirable desire to broaden opera’s appeal. While a strong cast and some inventive touches shine through, it currently lacks the cohesion and polish to fully take flight.
THE MAGIC FLUTE
Arcola Theatre
Reviewed on 25th August 2026
by Hannah Bothelton
Photography by Charlie Flint
