- Alistair Braidwood
That’s Entertainment: A Review Of Scottish Opera’s The Magic Flute…
Few operas have found their way into popular culture in the manner of Mozart’s The Magic Flute. From Neil Gaiman’s adaptation of Papageno’s bird catcher for the character Old Bailey in his novel Neverwhere, Whitney Houston claiming she is the ‘Queen of the Night’ in the movie The Bodyguard, and with music which has been used to sell everything from cars to contraception, it’s influence has spread far and wide. This is something which Scottish Opera’s revival of their 2012 production plays with beautifully.
It embraces the aesthetic of steampunk fully. If you know the graphic novels of Alan Moore’s The League Of Extraordinary Gentlemen, or films such as Brazil, Howl’s Moving Castle, or the recent Mortal Engines, you’ll have some idea of the look and feel. In fact the wizard Sarastro can be described as a mix of The Matrix’s Morpheus and Kenneth Branagh’s Dr. Arliss Loveless from the otherwise forgettable Wild Wild West.
Throw in minions who seem to be a marriage of Disney’s Minions & Tik Tok from Return To Oz, a dragon which is more H.G. Wells than Game Of Thrones, and strange men in top hats who watch over proceedings, and it’s clear that everyone has risen to the challenge to offer up a production which is as much a treat for the eyes as for the ears. Those involved with stage, costume, lighting and props should take a well-deserved bow.
But for all the magic and magnificence of the staging what runs through this production is heart, humanity and humour. Central to this is Richard Burkhard’s Papageno who represents the everyman, the link between the audience and the stage, (the ‘Buttons’ character, so to speak – see more below), whose mistakes and mishaps are all too recognisable, and who reminds us that while not everyone can be a hero, they still deserve love.
There is more than a touch of pantomime about The Magic Flute with a prince and a princess, a wicked Queen, slapstick and farce, playing to the gallery, and (*Spoiler*) happy endings for most by the time the curtain falls. As such it is easy to explain its continued popularity, regarded by many as the opera for all the family, and there is an excellent piece in the programme by Paul Maloney which sets out the influence on vaudeville and music hall.
If you’ve been looking to introduce someone to the joys of opera, then Scottish Opera’s The Magic Flute is the perfect choice. If that someone is you, then why not give it a chance. I guarantee you’ll leave with a smile on your face and a song in your heart.
Thanks to Scottish Opera for use of the following images: Credit – James Glossop
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