Mozart Miniaturized: Dazzling ‘Matchbox Magic Flute’
By • May 30, 2024 0 567
By Sophia Hall
When patrons step inside Shakespeare Theater Company’s Klein Theater, they are immediately transported to a grandiose opera hall in late-18th century Austria. Faux private boxes sit onstage for an imaginary audience. Members of the orchestra, donned in traditional chamber music clothes, sit in the pit––sheet music lit both by modern electricity and fake candles. The red velvet curtain hangs closed, and gilded chandeliers glimmer in the light. Once the lights dim, the Spirit (Reese Parish) leaps onstage. With three thumps of her staff, she commands the invisible magic of the theater. The curtains pull back, the chandeliers rise, and a storybook set is conjured, complete with one-dimensional trees and a puppetted dragon.
The magic of “The Matchbox Magic Flute,” which runs through June 16, never ceases. Adapted and directed by Mary Zimmerman, this miniature version of Mozart’s monumental opera follows the prince Tamino (Billy Rude) and his goofy half-bird sidekick Papageno (Shawn Pfautsch) on their quest to save the princess Pamina (Marlene Fernandez) and find true love.
This new version borrows from the skill set of musical theater. The cast is significantly scaled down: only ten actors, supported by a mighty five-person orchestra, led by Laura Bergquist. Tactics such as double- or even triple-casting, usually impossible in operatic singing because of the strain imposed on the singer’s voices, are now utilized because of the more intimate setting. Papageno now has the opportunity to improv a monologue, truly connecting with the audience in the spirit of how the original librettist Schikaneder most likely chatted with attendants each night. The mostly sung-through story interspersed with a few scenes is not minimized as a result of this miniaturization, though. Instead, every unique detail becomes even more amplified and resonant.
While retaining the traditional, extremely technical Queen of the Night arias and Papageno Papagena duet, this adaptation infuses the opera with modern humor. After all, what’s Washington, D.C., regional theater without insurrection and lawyer jokes? The translation of the libretto and book from Italian allowed Zimmerman the agency to incorporate English-specific jokes, such as the “Papageno ratatouille” and the punnings of “paralegal,” “legal” and “eagle.” During dance scenes, the woodland Ladies and members of Sarastro’s court could be seen flossing, popping and locking, and doing the good old water sprinkler dance.
Though all the scenes were visually stunning, one scene in particular sizzled with electricity. With a rumble of thunder, the sunny forest scene dissolved as the background periaktos turned into dark ominous clouds. From the ceiling, The Queen of the Night (Emily Rohm), resplendent in a black and red ball gown, floated down with a soprano voice as furious and piercing as lightning.
Do not hesitate to go see the last few remaining performances of this truly dazzling fusion of both musical and opera.
“The Matchbox Magic Flute” runs through June 16 at the Klein Theatre, Shakespeare Theater Company, 450 7th St., NW. For more information and to purchase tickets, call the Box Office at 202-547-1122 or go online.
