dfp_header_hidden_string

Get our free email newsletter with just one click

Die Fledermaus review at Arcola Theatre, London – ‘fun updating of Strauss’ bubbly operetta’

James McOran-Campbell and David Horton in Die Fledermaus at Arcola Theatre, London. Photo: Maxim Gamble
by -

Die Fledermaus was 19th-century ‘Waltz King’ Johann Strauss’ biggest hit operetta, its longevity ensured by bubbliness and an abundance of hummable tunes. But some longueurs and stilted dialogue – especially in translation – can be problematic.

Joanna Turner’s new version, part of the Arcola’s Grimeborn festival, boils the two-hour work down to 50 minutes, retaining the best music and essence of the plot, while bringing it bang up to date.

After a large night out (glimpsed during an abridged overture in increasingly drunken selfies), Eisenstein posts embarrassing pics of his best bud Falke in a cheap Batman costume (Fledermaus is German for ‘bat’) on YouTube. Falke’s revenge involves exposing his friend’s duplicitous partying to his wife Rosalinde – and vice versa.

Turner’s slick adaptation, set-less apart from some wooden boxes, is propelled by natural colloquialisms – “babe”, “jerk”, “scumbag” – and an enthusiastic and convincing cast.

Photo: Maxim Gamble

The women – Abigail Kelly’s workshy nanny Adele and Claire Wild’s long-suffering but hypocritical Rosalinde – are vocally classier, but David Horton’s Eisenstein and James McOran-Campbell’s Falke also contribute to the show’s success.

The ensemble is tight and pace lively, with an instrumental trio led by music director Leo Geyer.

It’s great fun, and Turner’s updating gives a ring of truth to the potentially farcical story. So much so that the happy ending is harder than usual to swallow – would Rosalinde, though herself hardly blameless, really forgive the party-addicted husband who orders her to stay home with the kids?

The question jars with the show’s lighthearted frothiness – but ultimately not enough to spoil this small but perfectly formed production, a model for the egalitarian Grimeborn ethos.

Wagner on the fringe: How London’s smallest stages are hosting opera’s largest works

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price
Verdict
The distilled essence of Strauss’ bubbly operetta in a fun updating
^