We in Berkeley look forward to a winter holiday gift from the inventive mind of MacArthur “genius” award-winner Mary Zimmerman. And she has outdone herself with her latest creation, an inspired, playful, and abbreviated, yet enhanced, English version of Wolfgang Amadeus Mozart’s 1791 opera, “The Magic Flute.”
Zimmerman’s “The Matchbox Magic Flute” has stripped the operatic gaudiness and Masonic references from the lengthy, somewhat meandering original and kept the essence of its age-old charm. It’s a lyrical, family-friendly tale of love between a prince and a princess, replete with magical musical instruments, quests, trials by fire and water, dragons to slay, and an evil queen to confront. However, this new opera-light adaptation abridged the libretto and enhanced the orchestration’s emotional and humorous aspects (adaption and arrangement by Amanda Dehnert and André Pluess).
In one humorous note, Act I begins with Prince Tamino (Billy Rude) attacked by a dragon and rescued by a trio of ladies-in-waiting who think he’s hot:
“Oh ladies, get a look at him.
Just like a little cherubim.
He must spend hours at the gym!”
“The Matchbox Magic Flute” cast is limited to a troupe of 10 perfect singers/actors, only one of whom, Emily Rohm, playing the Queen of the Night, is operatically trained. But all their voices are vibrant and lovely, notably Marlene Fernandez as Pamina. Shawn Pfautsch excels in physical comedy as Papageno, the bird-like bird catcher. Yet, his soulful song about looking for a mate is touching. Lauren Molina’s Papagena, Papageno’s newly found soulmate, is a mischievously sexy bird.
Mozart’s full orchestra is now reduced to a talented ensemble of five, with many musicians playing multiple instruments. In addition to instruments from Mozart’s time, the piano commands center stage, with xylophone and woodblock accompanying the flute and string instruments (Sheeta Ramesh, conductor and piano).
As in Zimmerman’s earlier works produced at Berkeley Rep, including Metamorphoses (1999, 2019) https://www.berkeleyside.org/2019/02/04/zimmermans-return-to-berkeley-rep-with-metamorphoses-is-triumphant and The White Snake (2012), https://www.berkeleyside.org/2012/11/20/zimmerman-reinvents-ancient-chinese-legend-berkeley-rep the stage is transformed to suit the production. The Roda Theatre has now become a charming 18th-century miniature theater with a colorful false proscenium stage, three chandeliers, sham opera boxes, candlelight and scallop-shell stage lights, and a set with movable trees and rotating panels (scenic design by Todd Rosenthal). It looks perfect!
The striking period costumes (Ana Kuzmanić, costume design) also enrich the production. For example, the Queen of the Night’s gown is black with bright crimson at its base. When in Act II, she stands atop a hidden air gun, her gown lifts to a flaming red. At the finale, the cast is wearing oversized sunshine medallions as if to emphasize the happy ending.
The official opening of “The Matchbox Magic Flute” was unfortunately postponed until October 31, 2024, after a cast member’s injury caused a week’s delay. But on the November 1, 2024, performance I attended, all was perfect. Zimmerman’s “The Matchbox Magic Flute” is a pure delight.
“The Matchbox Magic Flute” runs through December 8, 2024, at Berkeley Rep’s Roda Theatre, 2025 Addison St., Berkeley. The running time is approximately two hours and 20 minutes, including one intermission. Masks are encouraged but optional for performances from Wednesday through Saturday. Mask-wearing is required in the theatre on Sundays (matinees and evenings) and Tuesdays for the first three weeks of the show’s run. Post-show discussions and closed captioning are available at specific performances. Tickets, $25-$145, plus a $9 order fee, with lower prices for those under 35 years, among other discounts, subject to change, can be purchased online at www.berkeleyrep.org or by phone at 510.647.2949.
This article originally appeared on Berkeleyside.com
By Emily S. Mendel
© Emily S. Mendel 2024 All Rights Reserved emilymendel@gmail.com
