Jonny Danciger presents a stylish Hollywood feel Die Fledermaus, perhaps the best-known stage work of Johann Strauss. The plot revolves around a practical joke and many mistaken identities. Danciger's production steps out of the Viennese glamour of the original work into a more modern intimate overtone.
The operetta is staged in a London church which convincingly turns into a backstage of a film set and a ballroom of a Russian prince but was somewhat apathetic to the uniqueness of the venue. The sextet under George Ireland's baton does not fail to capture the rich symphonic score. The overture is captivating. Eliott Bougant alone played as if there were an entire line of first violinists, but the charm of the overture is also in the sparkly wind instrument which is understated in the performance. The overall accompaniment is nonetheless stellar, as is the performance of the main cast and chorus.
Both Dominic Westwood in Alfred and Oliva Singleton in Adele show mastery over their characters. Westwood is a smooth operator theatrically and vocally. Singleton makes the character the most charming with playfulness in her voice and expression. The role of Prinz Orlofsky was written originally for a mezzo-soprano en travesti. Danciger, however, follows the Viennese tradition of casting a tenor, in fact, a countertenor, Jean-Max Lattemann, who brings such charm and character. Lattemann in Orlofsky is a true Bacchus. In his coppery voice and flamboyant gestures, he truly becomes the prince of the ‘champagne song (Im Feuerstrom Der Reben).' The star of the show is Rusné Tušlaité, the Lithuanian Soprano in Rosalinde. Her performance is incredibly stable and charismatic. She boasts remarkable volume in her light shiny tone.