CHICAGO—If you’re an opera aficionado or have been enthralled by Mozart’s “The Magic Flute,” you’ll be enchanted by Mary Zimmerman’s reimagined theatrical adaptation of the opera. But, you don’t have to be an opera lover to enjoy this world-premiere. This innovative and unique production, “The Matchbox Magic Flute,” now at the Goodman Theatre in Chicago, has all the engaging delight of Mozart’s grand classic and is presented with lavish staging, glorious music, and moments of originality and whimsy.
The imaginative Ms. Zimmerman is well-known to audiences for her theatrical adaptations of “The Arabian Nights,” “The Notebooks of Leonardo da Vinci,” and “The Odyssey.” “The Matchbox Magic Flute” is her most wondrous.
Wolfgang Amadeus Mozart (1756–1791) wrote the “The Magic Flute” when he was 35. The opera premiered on Sept. 30, 1791, three months before he died. It was a huge crowd pleaser when it opened in Vienna and is still considered one of the most popular operas of all time.
Modified, Yet Runs True
The story of Ms. Zimmerman’s imaginative version is faithful to Mozart’s main story and theme, but it’s been scaled back to minimize some elements, which explains the “Matchbox” reference in the title. The director adapted the grand opera with an ensemble of ten and an orchestra of five.The theme, that runs through the opera—the search for truth, reason, love, and enlightenment—also flows through the “Matchbox” adaptation.
Like the opera, the show revolves around the tale of Prince Tamino, who is on a quest to rescue Pamina, the daughter of the Queen of the Night. Pamina has been kidnapped by the evil Sarastro, and the Prince is on his way to save her when he comes across bird-man Papageno. Together Tamino and Papageno become lost in a forest where they come across a fire-breathing dragon, a trio of mysterious and magical women, and musical instruments that give them magical powers. Of course, they succeed in their search, love conquers all, and the story ends happily ever after.
Although Ms. Zimmerman has scaled back the opera into a theatrical musical, the show is still a stunning spectacle. With her unique and creative vision, the show has an almost a fairytale look. Gigantic creatures loom large over smaller, dwarf-sized beings, trees stretch upward like giant redwoods, and birds are larger than life.
Presented in the Goodman’s smaller Owen stage, the production is more intimate than it would be on a mammoth opera stage. That said, Ms. Zimmerman hasn’t skimped on essentials. Indeed, as in all of her previous presentations, the “Matchbox” overflows with lavish beauty and elegant attention to detail.
The lush costuming of satins, silks, and velvets, designed by Ana Kuzmanic and the humorous hairdos by Charles “Chuck” LaPointe are not only gorgeous but convey the historical period in which the action takes place. Moreover, the scenic design by Todd Rosenthal, with three dazzling chandeliers, stars on a blue and gold horizon, and a silhouette of Mozart makes for a dazzling cornucopia of gorgeous imagery that is illuminated by T. J. Gerckens’s golden lighting.
The stunning visuals are even more pronounced with a frightening dragon puppet and huge animal heads worn by the actors. These are charming creations by the Chicago Puppet Studio. In addition, Amanda Dehnert and Andre Pluess have done a terrific job of adapting and arranging Mozart’s score, and the five-member orchestra, led by Paul Mutzabaugh, while not a full operatic orchestra, does more than justice to Mozart’s glorious music.
With the exception of baritone Keanon Kyles, who is compelling as the villainous Sarastro, the rest of the cast are not opera singers. Still, they are all exceptional vocalists who soar with the musical numbers. Shawn Pfautsch as Papageno and Lauren Molina as Papagena are captivating as they come together in a comedic, romantic duet. Others who deliver standout performances include Billy Rude as Prince Tamino and Marlene Fernandez as Princess Pamina.
Furthermore, the three performers playing the magical women who save the day include Laura Molina, Monica West, and Tina Muñoz Pandya. The highlight performance that almost stops the show, however, is that of Emily Rohm, who as Queen of the Night is beguiling with tremendous vocalizations of “Der Holle Rache,” the opera’s most beloved aria.
This is a fantastic production that will be remembered for a long time. It’s an amazing theatrical achievement, and what is even more remarkable, it’s an exhilarating, delectable joy for adults and children alike.
‘The Matchbox Magic Flute’
Goodman Theatre
170 N. Dearborn St., Chicago
Tickets: 312-443.3800 or GoodmanTheatre.org
Running time: 2 hours
Closes: March 24, 2024
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