REVIEW: The Matchbox Magic Flute (Shakespeare Theatre Company)

We’re having a Mary Zimmerman moment, guys. In case her material over at DC’s other Shakespeare resource wasn’t enough for you, she’s brought an adaptation of Mozart’s famed opera The Magic Flute downtown to finish up STC’s season, a collaboration with Chicago’s Goodman Theatre. Where’s the “matchbox” come in? Well, this isn’t exactly built to fit in the Harman: the megalithic piece has been chopped and trimmed to fit into a “matchbox” size, the much cozier Klein Theatre.

Book/Music

The tradition of American musical theatre started as a vulgar, cheaper interpretation of the traditional opera. It was smaller-scale and funnier, its elements much more intertwined, with a lower reliance on solos and raw vocal power. We as a society were onto something with that, as I’ve felt the operas I attend are seldom comprehensible, even in English as Matchbox is. Certainly, this is no exception. The opera is a classic so to speak, telling the rudimental fairy tale of Prince Tamino who is tasked with rescuing Princess Pamina from a foreboding Sarastro. Joining him is a humanoid hummingbird known as Papageno, and after recieving the titular flute that turns sadness into joy, they embark. It’s not exactly going to provide a mental workout, but it’s insistently naïve to the point that it almost feels like parody. The adapted score was forgettable and loud, accompanied by a talented but sorrowfully underbaked orchestra (a casualty of the matchbox-ication). Much of the translation creates lines that float between awkwardly rhythmed to downright unintelligible. I can’t say I’m a big opera guy, I guess, but then again I don’t think Mozart built it to be in this format. 2/10

Acting

They’ve stuffed the piece with a vocally-gifted ensemble, who are fine projectors but lacked diction; I could hardy understand several entire songs. Again: could be my own thing with opera, but also could be casting. There is a mix of traditionally-trained opera singers who shine in this production (Keanon Kyles’ Sarastro comes to mind) and musical theatre-oriented actors who don’t. This is not to dissuade anyone from the veracity of their work and talents, but sometimes people excel in certain types of roles for a reason. 3/10

Production

Now, this review isn’t totally a slugfest. For all of the issues I have with the production so far, I have to concede that it is absolutely gorgeous. The baroque staging by Todd Rosenthal is simply stunning with its classical painting backdrops and homely framing to emulate an opera house. The backdrops are swapped out using a triangular mechanism that rotates individual panels, allowing seamlessly fluid transitions that beckon colorful highlights from lighting designer T.J. Gerckens. The costuming by Ana Kuzmanic is equally as impressive, representing the childlike whimsy of the piece with vivid textures and subtle patterns that remain true to each character. I particularly loved the hummingbird colorations of Papageno’s suit, with its green tones accented by a crimson tail and nature-inspired paisley jacket pattern. The practical effects were enjoyable if not limited. Flute opens with the Prince being chased by a glowing, metallic dragon puppet, and we are later joined by comedically papier-mache animal heads on the chorus. There’s even a scene involving flight, though arguably embarrassingly executed; in all the magic of the show, they didn’t attempt to decorate the flying contraption at all, a huge missed opportunity. It almost seems like they forgot. Nonetheless, it’s minor enough to not negate the visual feast that keeps you awake for the duration. 9/10

Viz

Like the other visual elements, the pre-show staging is immacculately detailed with ornate framing, a lush curtain, and even some chandeliers. It’s definitely “giving” opera. Additionally, the program showcases a dark mysticism that pervades in the show, though it’s the scene that I mentioned earlier was poorly-executed. In any event, I think it accustoms the audience in a valid way. 8/10

Verdict

Magic Flute is a stunning visual achievement that takes your attention away from a lukewarm interpretation of Mozart’s famed opera. 22/40