“…a thoroughly enjoyable, and professional production of an iconic piece.” Edinburgh Studio Opera’s assemblage of nascent professionals and talented students do justice to Strauss’s Die Fledermaus.
📍 The Pleasance Theatre, Edinburgh
📅 8, 10, 11 Mar 2023
🕖 7:30pm
🕖 Running time: Approx 2 hours (one interval)
🎬 Director: Katarina Keck
🪑 Producer: Killian MacDonald
💺 Executive Producer: Holly Gowen
🎼 Musical Director Will Conway
🎵 Composer: Johann Strauss II
🎂 14+
🎭 Wheelchair Accessible Venue, Wheelchair Accessible Toilets, Audio Induction Loop
Since Spring 1874, Johann Strauss II‘s Die Fledermaus – ‘The Revenge of Bart – has spread from it’s Viennese beginnings to conquer the stage-world, a dominion it shows no sign of abnegating here in 2023. Where some of the more ribald farces of earlier eras struggle to find purchase in modern minds, this is a relatively polite comedy of low stakes, high Vienesse society subterfuge.
Now, when reading a review of student productions, the reader might be forgiven for assuming the performance is held to a different standard to one staged by professionals. Not so here, Edinburgh Studio Opera might be student-led, but the cast is weighty with graduates of the Royal Conservatoire of Scotland, whilst the orchestra is directed by international recording conductor Will Conway.
The student presence is strong, including Vieneese director Katarina Keck, and a few members of the principal cast, but this is in effect a ‘baby’ professional undertaking, and it shows. Sung in English (adaptation by Leonard Hancock & David Poutney), suffice to say the score remains as delightfully iconic as ever, and is in no need of my reviewing. It’s a melody lovers delight.
Bloviate ‘gentleman’ Gabriel von Eisenstein (Cameron Mitchell) is due to spend 8 days in prison for insulting a government official, a product of his ego and the incompetency of attorney Dr. Blind (Grant Haddow). When good friend Falke (Matthew Fulton-Peebles) invites him to Prince Orlofsky’s (Holly Gowen) ball, he isn’t one to let a jail sentence get in the way. The same day, an invite to the ball arrives for his maid Adele (Stephanie Strachan), extended by her ballet-dancer sister Ida (Elizabeth Gibb). Once they’ve both departed for the soiree, Eisentein’s wife Rosalinde (Amy Worsfold) also recieves an invite to the ball, as well as two unexpected guests. First descends Frank (Harry Lempriere-Johnston) an ex-lover, and then Prison Director Frank (Tiziano Martini), the latter ultimately taking the former to prison in her husband’s stead.
The quality of voice is consistently excellent, though the honours unquestionably lie with Strachan, whose clear soprano dances atop an impressive showing from the Edinburgh University Chamber Orchestra. ‘Adele’s Laughing Song’ in Act II is particularly marvellous, not only pitch perfect, but laugh out loud funny.
Generally speaking, the cast handle the narrative competently, and confidently, not least in delivering the book’s continual comedic stylings with admirable timing. In this respect, Frosch (Theo Chevis), Deputy Prison Director, takes the laurels, with a fourth wall sundering monologue deserving of every roar of laughter. Last seen in EUSOG’s Jesus Christ Superstar, one wonders if comedy isn’t his true calling! Bravo Director Katarina Keck for showing such a deft hand with dialogue!
Worsfold it must be said, doesn’t quite demonstrate the vocal horsepower to occupy the pivotal role in this robust operetta, though her tone is sweet, and her delivery full of character. Her talents, no doubt considerable, may belong amongst the more intimate climes of recital. Lack of volume is no issue however with Lempriere-Jonhston who produces a remarkably clear tenor despite his ‘regular’ student background.
In the interests of those who have yet to experience Die Fledermaus, I shall refrain from spoiling the fall-out from the rampant deceptions. Let’s just say it’s no coincidence that an entire household has ended up invited to the same ball, and that Eisenstein‘s old pal Falke is at the heart of his jape, settling an old score for ‘chiropteran’ purposes. The series of mishaps, and buffoonery which topple like dominoes towards the finale are each carried off with no little aplomb by nacent pro’s and student amateurs alike.
Highlights include Eistenstein and Frank, both at the party disguised as French nobles attempting to ‘out-French’ the other with an array of ‘croissants’ and ‘voulez vous couchez…’s; and another dynamic turn from Strachan attempting to convince a hung-over Frank to finance Adele’s new career as an actress singing ‘If I play the innocent peasant maid’.
One thing’s for sure, and that is you’ll rarely have the chance to see such a thoroughly deft performance of this, or any other operatic piece for such reasonable ticket prices. The work of ESO is invaluable in providing a space for young would-be lifelong professionals a stage to peddle their considerable wares. In Die Fledermaus, the selected cast have responded to the opportunity with both ability and flare. Pacey, thanks to clear direction from Keck, this is, or rather was now the run is ended, a thoroughly enjoyable, and professional production of an iconic piece.
Die Fledermaus played The Pleasance Theatre, Edinburgh 8, 10, and 11th March 2023. It was a production of Edinburgh Studio Opera.
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What you won’t be aware of is how unwell Amy Worsfold was, and how she went on (arguably against her better judgement) so that she didn’t let her colleagues down. Having heard her sing a Valkyrie towards the end of last year, that voice is NOT small!
Ah! I thought it safe to assume otherwise as the cast lists 2 covers for Rosalinda, but happy to have this comment in place to provide context to readers. Thank you for taking the time to contribute!
Disappointing to see no commentary on the difficulty of the space, particularly when seemingly arbitrarily singling out Worsfold’s performance? The orchestra on a non-standard high level (due to venue) left nearly all voices unable to carry across especially in mid-lower ranges. I would argue only Gowan consistently carried.
Given we now have the context of Worsfold’s illness, I think my observation is vindicated, and not in the least arbitrary.
Yes, the venue is a touch difficult as you say, but it would be manifestly untrue to suggest that in general, the cast’s voices failed to carry across. One need not throw the entire production under a bus simply to reject one particular criticism. This was a very good production, and in general, the cast delivered their lines with admirable force and clarity.
It seems unfair to now know that Ms. Worsfold was unwell during this performance, through the comments, and to see thar you have not edited your review to include that caveat, which I’m sure future readers, and Ms. Worsfold, would appreciate.
You reviewed what you heard on that night. No announcement was made prior to the performance which only goes to show the professionalism of Amy Worsfold and it also highlighted her strength of character in that she managed to perform the whole role that evening. Hats of to her.