The Royal Northern College of Music does modern-dress productions of classical opera very, very well. And that delight also extends to Strauss operetta. 'Die Fledermaus' (The Bat), performed in English with a new libretto and dialogue by David Parry and Stephen Barlow, is a lively, amusing update set on Millennium Eve in 1999 that still hits all the champagne notes during its most famous songs.
During the Act I overture, the backstory was set up. Following a very drunken Halloween party, London posh blokes Falke (dressed as Batman) and Eisenstein (dressed as The Joker) wind up on a bench inside a tube station. Falke passes out. Eisenstein pours water onto Falke’s crotch and gleefully disappears. Falke awakes to the police, rush hour commuters, and a scandalous article in The Sun. This is the beginnings of 'The Bat’s Revenge'.
Designer Yannis Thavoris had a wonderful time with this update. Act I is a luxurious flat by the Thames, with a framed Tatler cover of Eisenstein’s wife Rosalinde on the wall. Act II is the yacht of Russian oligarch Prince Orlofsky, complete with hot tub and a view of the Millennium Dome over the water. Act III is a gleamingly new police station. The party on the yacht particularly featured a blaze of 1990's fashion among the chorus, which included celebrity guests The Spice Girls and Boris Johnson. And having a DJ booth with “DJ Strauss In Da Haus” on it was an extra special touch.
Olivia Tringham shone grandiosely as Rosalinde. Her warm soprano rolled effortlessly over Strauss’s score, particularly when she was singing about her fake Hungarian homeland in mock Eurovision style while in disguise as “Miss Budapest.” And she’s a genuinely good comic actress. Bonnie Callaghan also shone as Adele, the chambermaid who sneaks into the party disguised as a pink-gowned starlet. Her crisp soprano sparkled with every soubrette note. Matthew Secombe had a light touch as Eisenstein, and a good sense of clowning. His delicate baritone playfully engaged with the score. Adam Jarman as Falke has a lyrical baritone that was particularly suited to Falke’s softer and more melancholic moments (i.e. when Falke had had too much champagne.) Henry Strutt as Alfie, Rosalinde’s secret lover, gave his Northern-accented plumber a toolbox full of charm, and had a glowing tenor voice to match. Dominic Morgan as Blind, the lawyer, used his silvery tenor to perfectly pernickety effect, and made the most of being stripped down to a gown and Union Jack underpants towards the end. Sarah Winn blasted her strong mezzo-soprano all over Prince Orlofsky’s role, and had a dynamic stage presence. No-one else could have handled those enormous Russian security guards with such silently bored power. Taylor London brought her lively soprano and glittering belly-dancing costume to the role of Ida, Adele’s sister. Patrick Osborne’s rich bass-baritone crackled its way through Frank, the head policeman. Osborne also had a rather nice touch as a comic actor.
And the uncredited young woman who had the speaking-only role of Police Officer Frosch – first of all, why isn’t she in the programme? And secondly, her air of petty bossiness was the perfect frame to Act III, particularly when she was struggling with her antique-looking computer and other technologies.
Beautiful work from the Chorus, who also supported the guest appearance of real-life diva Kathryn Rudge when she dropped by Prince Orlofsky’s yacht to sing a bit from “Carmen” – as you do.
Conductor David Parry kept things at the perfect pitch of bubbling vitality, while still going into full showstopper mode for the biggest songs. Director Stephen Barlow kept a rollicking good story going that, though it had had a lot of liberties taken with it, made “Die Fledermaus” as fresh as ever.
Reviewer - Thalia Terpsichore
on - 12.12.22
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