“The Matchbox Magic Flute” at Berkeley Repertory Theatre is a half-bite that proves to be a delectable, satisfying mouthful.
Director Mary Zimmerman’s “teeny tiny, itty-bitty music-hall” version of Wolfgang Amadeus Mozart’s “The Magic Flute” pays homage to grand opera without becoming entangled in the genre’s traditional wrinkles.
Marvelously, the two-hour production retains much of Mozart’s masterful music, created by 10 amplified singer-actors—only one a professional opera singer—and a five-member orchestra. Music director-keyboardist Sheela Ramesh adroitly and sensitively leads cellist Joshua Mikus-Mahoney, violinist Christina Walton, percussionist Brietta Greger and flutist Ellie Falaris Ganelin.
This mini version generally follows the original libretto, tightening up narrative holes that make the opera’s second act meander. The streamlining doesn’t compromise the show’s language. Zimmerman’s writing is tart, meticulously rhythmic, and updated with modern references. (A revolt has an insurrectionist saying, “We’re storming the capitol—err, the castle!”) It’s in English and it rhymes, as did Emanuel Schikaneder’s original German libretto.
Prince Tamino (Billy Rude) falls in love with and embarks on a quest to rescue a captured princess, Pamina (Marlene Fernandez). He encounters the beak-nosed bird-man Papageno (Shawn Pfautsch) and woodland Ladies (Lauren Molina, Tina Muñoz-Pandya and Monica West). Other characters are his captor, King Sarastro (Fernando Watts) and his guard, Monostatos (Russel Mernagh), and Pamina’s mother, the formidable Queen of the Night (Emily Rohm).
Charged with proving his love for Pamina, Tamino is assigned a guiding Sprite (Reese Parish). What follows are the fairy tale journey’s tests—having to choose between portals of passage labeled “reason,” “nature” and “beauty,” and enduring trials: silence, wildfire, flood-level waters.
In this adaptation, which eliminates the Enlightenment and Masonic elements of the opera, some beloved music and gravitas are sacrificed. Even so, the score (adapted and arranged by Amanda Dehnert and Andre Pluess) is remarkable and leaves no sense of loss, only astonishment at its beauty.
When Pamina sings “all my joy, so soon departed” in one of her loveliest, sad arias, or when Papageno and Papagena sing upon their first meeting—one of the second act’s great highlights, with egg-cracking, worm feeding, feathers flying and much merriment—the rewards are multiple.
Admirably encompassing everything from disillusioned pathos to zany, fun celebration, the simple choreography (by Zimmerman and the performers) is effective and suggestive, such as when two chairs are slowly dragged upstage during Pamina’s lamentations, or when the four cygnets in the ballet “Swan Lake” are referenced, with a sextet consisting of the Sprite, two palace guards and a fox, canary and rabbit.
Zimmerman and Berkeley Rep’s venerable production team serve up not just eye-candy, but rich spectacle. Subtle, sophisticated nods to operatic history appear from the first moment and ingeniously continue. At the start, three glowing chandeliers hanging in front of the blood-red velvet curtain of set designer Todd Rosenthal’s intimate, 20-foot by 15-foot 18th-century-style proscenium stage slowly lift, a tribute to an opening at the Metropolitan Opera House in New York. Then the Sprite taps the floor three times with a cane, following an old French tradition of calling the audience to attention at the start of a performance.
Ana Kuzmanić’s costumes and Charles G. LaPointe’s wigs, hair and makeup complement the plush, acute mirrors of the period-perfect set, all lit astutely by lighting designer T.J. Gerckens.
Shell footlights cast alternatively romantic and darkly moody or brightly joyous, sculptural illumination for ever-changing (mostly) outdoor scenes.
In one episode, the Queen of the North in a wonderful black gown transforms into a flaming oracle of evil in blood-red chiffon layers. Her chest bears a quarter-moon crest, on her head, Viking-like horns echo the same shape: Her body and voice evince a mother’s distorted, vengeful love for her daughter. Rohm’s portrayal in this role demanding exceptional vocal coloratura is bold and exaggerated for spot-on comic effect.
Pfautsch is an equivalent master of comedy, playing Papageno with searing vulnerability, lots of silliness and everyman-style nobility. He has flaws, but they make us love him all the more. Special salute goes to Molina as Papagena, and equally impressive as Lady 1.
As Tamino, Rude, a tall man with a surprising tenor range, exudes a fine blend in his princely role of romantic gullibility and sincerity. As Pamina, Fernandez shows graceful innocence and more-than-capable voice. Although chemistry between the couple never fully ignites, they make a handsome, believable pair.
“The Matchbox Magic Flute” continues through Dec. 8 at Berkeley Repertory Theatre’s Roda Theatre, 2015 Addison St., Berkeley. Tickets are $75-$165 at berkeleyrep.org.
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