Shakespeare Theatre Company’s (STC) “The Matchbox Magic Flute” – continuing at STC's Klein Theatre through June 16 – makes opera accessible through director Mary Zimmerman’s humorously updated libretto. We still get the music of Mozart’s popular opera, but with a “matchbox”-sized five-member orchestra and stellar 10-member cast, all of whom inspire nonstop delight.
Award-winning writer and director Zimmerman – whose “Metamorphoses” is concurrently playing at the Folger Theatre – has a knack for telling old stories in new ways while preserving their intent and pathos. “The Matchbox Magic Flute,” which Zimmerman adapted from previous English translations, is no exception, having premiered earlier this year in Chicago with the current cast.
The story’s potentially saccharine fairytale-like plot is given emotional resonance and depth by Mozart’s 1791 transcendent score, composed shortly before his death and adapted here by music director Amanda Dehnert and Andre Pluess.
Zimmerman’s version stays faithful to the story, but imbues it with modern dialogue, inflections, and even dance moves. Much of the story is still sung (in English) in perfect time to the music, but with a rhyming simplicity that makes it accessible to our modern ear.
Aided by the bird-like Papageno (Shawn Pfautsch), Prince Tamino (Billy Rude) is charged with rescuing Princess Pamina (Marlene Fernandez), who has been kidnapped by the “evil” Sarastro (Keanon Kyles, a rich baritone).
The story opens with Prince Tamino chasing a dragon (designed by the Chicago Puppet Studio) before fainting in fear. The dragon is instead slain by three passing Ladies (Lauren Molina, Tina Muñoz Pandya and Monica West), who then swoon over the prone prince’s handsomeness in competitively amusing ways.
A charming set designed by Todd Rosenthal features a moveable forest of trees against a painted backdrop, creating depth, all set within a charming theatrical frame of box seats and overhead chandeliers evoking an opera house in Mozart’s time. And costumes by Ana Kuzmanić fit each character well – the prince still manly in a flowered dress with boots and the Ladies in ethereal green.
We soon meet the beaked Papageno – who becomes the prince’s hilarious sidekick thanks to Pfautcsh’s well-timed delivery – and the princess’s darkly dramatic mother, Queen of the Night (Emily Rohm, formidable both in voice and demeanor).
Meanwhile, honey-voiced Pamina (Fernandez channeling Judy Garland) in her yellow frock may be falling prey to Sarastro’s creepy henchman Monostatos (Russell Mernagh) as he secretly spirits her away from Sarastro. Temporarily saved by Papageno, the princess sings with him a sweet duet of how both “birds and girls” seek love.
As the plot unfolds, it becomes clear that Sarastro has a hidden purpose for Tamino, Pamina and even Papageno, imposing trials that test their resilience and worthiness of love. Who is “evil” also becomes questionable as the queen makes a shocking demand of her daughter.
Through it all, the cast delights with expressive and emotional deliveries and transporting harmonies and polyphonies, the songs gorgeously executed. Both Rohm and Kyles deliver their regal arias with commanding presence; Molina shines as Papageno’s female counterpart as she and Pfautsch sing the “pa-pa-pa” of their adorable birdly duet; and Rude's princely tenor, though not quite operatic, still endears him to the audience.
Though Zimmerman said she wanted “The Matchbox Magic Flute” to be more like a musical, it's a suitable introduction to opera for young people (or anyone not familiar with the medium), though children might be advised to save questions for intermission. And though the songs are in English, supertitles might have helped at times even for seasoned opera viewers, especially during the soprano parts.
But otherwise, this enchanting production is not to be missed, both the musicians and players alike becoming magical figures on a jewel box stage, bringing to emotional life a charming story designed to delight the human heart.
“The Matchbox Magic Flute” continues through June 16 at Shakespeare Theatre Company’s Klein Theatre, 450 7th St. NW, Washington, D.C., with performances Tuesdays through Thursdays at 7:30 p.m., Fridays at 8:00 p.m., Saturdays at 2:00 p.m. and 8:00 p.m., and Sundays at 2:00 p.m. and 7:30 p.m. For tickets and information, call the box office at (202) 547-1122 or visit ShakespeareTheatre.org. Run time is 2 hours, including intermission.
Comments