Review: Die Fledermaus, Opera della Luna ***

IT’S doubtful whether Johan Strauss II was ever left “gagging for it” but, more than a century after the death of the Austrian Waltz King, here was a performance of Die Fledermaus that illustrated the revolution in operatic tastes and styles that has occurred since.

Opera Della Luna’s version of the party piece opera, performed with a cast of 10, no doubt appalled traditionalists but a mix of a high colour, high farce and good quality singing made for a memorable evening that seemed to draw inspiration from sources as varied as pantomime, the end-of-the-pier show and student drama.

The stars of the show were, fittingly, Sarah Redgwick and Andy Morton who sang the roles of fractious couple Rosalinde and Eisenstein who appear at the centrepiece party in disguise. Redgwick was particularly strong, alternately girlish, matronly, and seductive as she saw her fickle husband cavorting in front of her on his last night of freedom before beginning a prison sentence for insulting an official.

Cynics might say this version sacrificed substance for style but Strauss would surely have argued that this is the very point of the identity swaps and champagne-fuelled frolicking of Die Fledermaus – even if it leaves you with a hangover.

Not all of the jokes came off and some of the Carry On-style humour felt distinctly old hat but Morton, as well as Philip Cox’s Frank, showed a sure comic touch. What also impressed were a striking series of costumes and the direction by Jeff Clarke.

This is a classic operetta remade for the 21st century, with all the froth this era entails.