‘Magic Flute’ is a fairy-tale romp
Toss aside 200-plus years of productions and a century of recordings of Mozart’s “Die Zauberflote” (“The Magic Flute”) and add a giant, snake puppet, roller skates, kites and other unexpected bits of theater, and you’ll have Milwaukee Opera Theater, Quasimondo Milwaukee Physical Theatre and Cadance Collective’s collaborative, fairy-tale romp of “Zie Magic Flute.”
The production, directed by MOT’s Jill Anna Ponasik and Quasimondo’s Brian Rott, is based on a Daniel J. Brylow translation/adaptation in German and English. It is set in the round on the main, lobby floor and overhead balcony of the Tripoli Shrine Center.
Using props rather than sets, fanciful, often-silly costumes, some fine operatic singing, some musical-theater-style singing and some choral vocals, along with accompaniment of piano (music director Paula Foley Tillen), cello (Alicia Storin) and flute (Emma Koi), this production creates a magical world that erases traditional “Magic Flute” expectations and leaves its audience wondering what’s coming next, and from which direction.
Sarah Richardson, a poised, serious Queen of the Night, sang the iconic “Der Holle Roche…” with precision, power, and a character-filled mix of grace and fire, stopping the show for a lengthy bit of applause.
Mark Corkins, who created a complex, fascinating Sarastro, “sang” the role without sounding a note, speaking his part in a voice as rich as a steaming cup of dark, hot chocolate.
Nathan Wesselowski, hilariously clad in pink and towering over most of the cast, used a good deal of physical comedy mixed with polished, heartfelt vocal deliveries to create a captivating Papageno.
Christal Wagner danced lithely through the show as Papagena, singing a delightful “Pa-papa” duet with Wesselowski and, to the audience’s amazement, donning skates and careening through the cast and audience like a Roller Derby pro.
Jennifer Hansen created a warm, believable Pamina, singing the role with musical depth and a clear, strong, facile sound.
Benjamin Ludwig delivered a tender, earnest take on Tamino, singing with more of a musical-theater sensibility than an operatic one.
The three Ladies, Tiana Sorenson, Erin Sura and Jackie Willis, did some serious, powerful singing, while adding big helpings of theater and humor to the mix.
The three Spirits, Jenni Reinke, Jessi Miller and Andrew Parchman, flitted in and out of scenes, adding pathos, humor, some largerthan-life characters, and a few vocals.