by Charlsie-Kern Kruger

“The Matchbox Magic Flute” is a charming idea. Arranger and director, Mary Zimmerman, set out to create the illusion that this “Magic Flute” is being performed as it might have been in Mozart’s time. The illusion, in terms of set and style is perfect. Set designer Todd Rosenthal’s recreation of an 18th century court theatre in Austria is a feast for the eyes. Likewise for Ana Kuzmanic’s costumes and the lighting design of T. L. Gerckens. Visually, this production leaves nothing to be desired. It’s perfect eye candy.

The eye candy, and the sense of magic and a lost world are the keys to this production. The illusion that we are watching an opera in the 18th century is nearly perfect. It is all elegance and gentility. The story is charming and well told.

The director clearly states that this production is “based on” Mozart’s opera. Which is to say, it is not Mozart’s opera. Which is to say that the charms of this production are not, for the most part musical. This is not a flaw, but simply the nature of the beast. If you come to “The Matchbox Magic Flute” seeking nothing more than fairy tale charm and a gentle divertissement, you will not be disappointed. If you expect grand opera with profound themes and virtuso bel canto performance, well, this is not for you.

In Mozart’s opera, the spiritual themes of good and evil and initiation and balance and nature are richly explored at the level of genius. The libretto has philosophical depth, and Mozart’s stunning musical skills can lead to an experience of spiritual transcendence. “The Matchbox Magic Flute” aims lower, trying to capture something of the innocence of childhood and the light fun of a simple fairy tale. It hits its mark. It does not aim for spiritual heights, but charms us with simplicity.

The great singing demanded by fully operatic performances is absent. Emily Rohm’s Queen of the Night sings adequately, but will not inspire terror and pity.  Fernando Watts brings a fine, well-trained bass to his performance as Sarastro, but is not likely to send chills up your spine.

The highlight of this production is Shawn Pfautsch as the bird catcher, Papageno. He is hilarious, as is his Papagena, Lauren Molina. The rest of the cast perform well within the limits of director Zimmerman’s creative vision.

The musicians acquit themselves admirably.

If you attend, expect to be charmed.

“The Matchbox Magic Flute” plays in Berkeley through December 8, 2024. For further information click here.
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Rating: *** 1/2 (For an explanation of TheatreStorm’s rating system, click here.)
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“The Matchbox Magic Flute” adapted and directed by Mary Zimmerman. Based on the opera by Mozart. Scenic Design: Todd Rosenthal Costume Design: Ana Kuzmanic. Lighting Design: T. L. Gerckens. Sound Design André Pluess. Music Adapted and Arranged by Amanda Dehnert. Music Director: Amanda Dehnert. Wig & Hair Designer: Charles G. Lapointe.

Cast:

Pamina: Marlene Fernandez. Monostatos/Armored Guard #1: Russell Mernagh. Papagena/Lady 1: Lauren Molina. Lady 3: Tina Muñoz Pandya. The Spirit: Reese Parish. Papageno: Shawn Pfautsch. Queen of the Night: Emily Rohm. Tamino: Billy Rude. Lady 2: Monica West. Sarastro/Armored Guard #2: Fernando Watts.

Musicians:

Associate Music Director, Conductor & Piano, Keyboard Glockenspiel: Sheela Ramesh. Flute/Piccolo: Ellie Falaris Ganelin. Percussion: Brietta Greger. Cello: Joshua Mikus-Mahoney. Violin: Christina Walton.