Show’s second act sparkles

Die Fledermaus, performed by Wellington Gilbert and Sullivan Light Opera, Regent on Broadway, Saturday September 15.

There are three ways of looking at Johann Strauss’ Die Fledermaus – as a comic opera, as a production and as a performance.

Firstly as an operetta, it’s tired, overlong and needs pruning and revision, especially the third act. As a production it requires innovation, creativity, pace and a frenetic touch to progress a creaking story of subterfuge, mistaken identity and deception to its inevitable happy conclusion.

Take The Play That Goes Wrong and turn it into The Musical That Goes Right. On occasions this wasn’t achieved.

But, as a performance, Die Fledermaus was satisfying and, in the second act, it sparkled.

The narrative is complex and focuses on a number of impersonations to disclose von Eisenstein’s true identity.

Surrounding him and his desire to enjoy a final night of freedom before his prison sentence are a coterie of colourful characters.

It’s very much an ensemble piece, but there were memorable performances, especially Joseph Mara’s inspired Dr Falke. Act two was Die Fledermaus’ finest moment.

It provided an impressive set, some wonderful chorus singing, passionate interaction between the leads and vibrant colour.

Throughout, the orchestra was impeccable. But the lasting memory is Strauss’ score. If the operetta needs a new warrant of fitness, the music doesn’t. Wellington Gilbert and Sullivan Light Opera is to be commended for bringing Die Fledermaus to the Regent.