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| Eleri Gwilym - photographer Bill Knight |
Soon, to herald the morning,
The sun will gleam along its golden path,
Soon, superstition will vanish,
And the wise man will soon win the victory…
Mozart’s opera was first performed in 1791 in the relatively
intimate Freihaus-Theater auf der Wieden in suburban Vienna. At this point,
over in London, Wilton’s was an alehouse dating from 1743 and it was only in 1839
that a concert room was built behind the pub and it became a saloon theatre,
before transitioning into what is now the oldest Music Hall on these shores. I
would imagine that an opera as accessible and brilliantly inventive as The
Magic Flute would have amused the clientele of any period as much as
tonight’s audience who clapped so hard we could barely express our
satisfaction.
The source of this wonder is the latest production of the Charles
Court Opera who, celebrating their 20th anniversary year, have refreshed
Mozart’s popular comic masterpiece, for modern ears with a few adjustments to Emanuel
Schikaneder’s libretto courtesy of a new translation by John Savournin (book)
and David Eaton (lyrics), which includes a call to assess the power battle
between the Queen of the Night and Sarastro with objectivity and “critical
thinking”. Mozart and Schikaneder’s creation thus proves as malleable as
Shakespeare or Verdi and its original call for enlightened absolutism is now
taking new meaning. Enlightenment and understanding free the hearts of all and love
leading the way.
It's a jungle sometimes… and the marvellous
restoration-in-process that is Wilton’s was lit all in green with even the pillars
supporting the circle covered in theatrical foliage courtesy of Simon Bejer’s
inventive design. The wall at the back of the stage was so well crafted that
changes in lighting showed the extremes of emotion and climate unfolding before
it… the observed reality of the Hall shifted in mood and texture.
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| Martins Smaukstelis and Alison Langer - photographer Bill Knight |
John Savournin’s direction brought new vibrancy and focus and
the centuries simply fell away once his troupe had begun to accompany musical
director, David Eaton’s piano. I’ve seen a number of operas but all very grand
affairs and yet here there was a show fit for any of those venues, exploding
from the Wilton’s stage with full-throated force. Of course, this was
how this opera would have originally played in Mozart’s local theatre, his Singspiel
enabling a performance more connected with the audience as the players mix dialogue,
direct to audience – fourth wall smashed – as well as each other and when they
sing emotions are heightened in spine-tingling fashion. Honestly you don’t get
this connection way back in the stalls of the Lincoln Centre or up in the Gods
at the ENO!
Now for the players and a timeless story set in this East
End jungle in which the aforementioned Queen of the Night – an incandescent Eleri
Gwilym outstanding on her character’s aria – sends intrepid explorer, Tamino (Martins
Smaukstelis) off to rescue her daughter Pamina (Alison Langer) from the high
priest Sarastro (Peter Lidbetter). The Queen sends her three hench-women to
greet Tamino and they act not only as a Greek chorus but also use puppetry as
well as their voices and ability at rapid costume changes – in soccer parlance Sarah
Prestwidge, Martha Jones and Meriel Cunningham act as a fast-moving midfield
press, taking turns at firing shots into the scoring zone.
Completing the cast is Matthew Kellett as Papageno,
bravehearted or at least “hearted”, companion to Tamino on his quest and who
acts as the audience’s companion in this fantasy adventure. Then there is the
dastardly Monostatos, Jon Ashmore, who aims to steal the princess for himself.
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| Matthew Kellett as Papageno |
All were in fine voice and to repeat it is remarkable to
hear such classical training in a venue in which you can see the performers’
expressions so clearly and connect in the intimate way of a concert and theatre
audience with their musicality and dramatic intent.
The story picks up the dramatic stakes as well as the humour once hero finds heroine and is given a series of tests by Sarastro who turns out to be not quite the monster the Queen has described as she attempts to persuade her daughter to kill him at the first chance. It’s then when the puppetry – the three women with assorted birds of paradise – and the inventive humour also go into overdrive. We couldn’t take our eyes off and our ears were also fully occupied with the critical singing.
IthankyouTheatre rating: **** This was indeed magic
theatre, a special venue filled with top quality voices and an uncanny energy
that can change moods and perhaps fortunes… the key to salvation is in the
music and the hearts of these wonderful performers. Heck, it may well be 2025
outside but right now, we can deal with anything!
Alison Langer and Martins Smaukstelis sang so true and made for an impressive couple whilst Matthew Kellett’s pantomime hardened wit as well as vocal skill provided the charm. Peter Lidbetter brought physical power and presence as the high priest and I was also taken with Meriel Cunningham’s charismatic presence as one of the multi-tasking three. But everyone was on top of their game and this was a truly delightful evening all round in what Time Out tells us is the 5th most iconic building in London!
Meriel Cunningham - photographer Bill Knight
The Magic Flute plays at Wilton’s until Saturday 8th March and I would urge you all to go and see this marvel in the raw: part panto, part concert, and utterly entertaining!
Full details on the Wilton’s website!
