A Magical Mozart in Miniature

The Matchbox Magic Flute

Imagine a timeless fairy tale featuring a handsome prince, a beautiful princess who’s been kidnapped by an evil high priest and guarded by a demon. Picture the princess’ temperamental, magical mother, the queen. Visualize a lonely, but funny, character who’s part-man, part-bird, three of the queen’s fairy-like ladies who offer their assistance whenever it’s needed, all kinds of enchanted animals and a magical flute. These are the elements that producer, director and writer Mary Zimmerman joyfully worked with in her most recent production, an adaptation of the 1791 opera, “The Magic Flute.” In essence, it’s a magical Mozart opera made miniature.

The Goodman’s multi Jeff Award-winning resident director is known for her many theatrical adaptations of literary and historical works, which she has also staged. They include such plays as The Odyssey, The Arabian Nights, The Jungle Book, The Notebooks of Leonardo da Vinci, Treasure Island, The Steadfast Tin Soldier and Ovid’s Metamorphoses, for which she won a Tony Award for Best Direction. But the Spring at the Goodman Theatre, Ms. Zimmerman has taken Mozart’s last opera and transformed it into musical theatre.

She was drawn to the opera because, at its core, the story is a trope she really enjoys. As Ms. Zimmerman says, “it’s fantastical, adventurous— a journey with dancing animals, magical objects, lessons learned, great humor and philosophy. It’s a testament to the importance of delight.” She was also challenged to present the musical tale in a small, intimate space. Thanks to ingenious, multi-award-winning scenic designer, Todd Rosenthal, Mary Zimmerman’s vision is fully realized. The set has the playful appearance of a giant puppet theatre, similar to his design for the director/playwright’s holiday production of “The Steadfast Tin Soldier,” at Lookingglass Theatre. A sky-blue and gold proscenium, which features three sparkling chandeliers, four tiny theater boxes and a lush, red velvet act curtain, also houses a cozy orchestra pit for the five talented musicians, conducted by associate music director, Paul Mutzabaugh.

At the top of the musical, a Spirit (impish Reese Parish) leads the audience through the story. Prince Tamino (the handsome and talented Billy Rude) is found lost and wandering the forest. Suddenly he’s attacked by a smoke-breathing dragon, but he’s rescued by three magical Ladies (enchanting sopranos, Lauren Molina—who also winningly plays Papagena, Monica West and Tina Munoz Pandya). When Tamino wakes up he finds Papageno, a strange woodland character who’s both man and bird, standing over him. Papageno (Hilariously played by Shawn Pfautsch) lies and tells Tamino that he was the one who rescued the prince. 

The Ladies unexpectedly return and not only set Tamino straight with the truth, but they punish Papageno for lying by stealing his beak. Now he’s unable to speak—or sing. Then the all-powerful Queen of the Night appears, (portrayed by the brilliant Chicago actress and coloratura soprano, Emily Rohm). She enlists Tamino’s help in rescuing her daughter, the beautiful Princess Pamina (lovely and musically gifted Marlene Fernandez), who’s been kidnapped by Sarastro (soulfully sung and performed by bass Keanon Kyles). He has ordered the Princess to be closely guarded by the demon Monostatos (portrayed with broad comic gusto by the always delightful, Russell Mernagh), who has also fallen in love with Pamina. Naturally, complications arise, challenges are presented, trials must be overcome and love eventually conquers all.

Mary Zimmerman’s reduced, two-hour musical is in no way watered down. Her show is filled with dazzling visual effects and a gorgeous score, musically directed by the always wonderful Amanda Dehnert. She’s assembled and guided a gifted cast of ten professional actor/singers, several of whom play multiple roles, and supported them with five incredible musicians. Everyone is beautifully clothed in Ana Kuzmanic’s colorful and whimsical attire and bedecked with quirky wigs and hair styles created by Charles G. LaPointe. Even the orchestra is costumed and coiffed, since many of the musicians actually take the stage. In addition to Todd Rosenthal’s enchanting scenic design, the production dazzles under T.J. Gerckens’ lighting and accented by a scintillating sound design by Andre Pluess. Kudos to the Chicago Puppet Studio for the creation of a scary dragon puppet and several oversized animal heads for the actors.

In what is sure to be one of the most talked-about new Chicago production, playwright and director Mary Zimmerman has certainly cast a magic spell over the Goodman Theatre. Her re-imagining of Mozart’s most famous and final work delivers an enchanting production that’s much more musical theatre than opera. The show’s reminiscent of Gilbert & Sullivan operettas, with a definite comical, contemporary slant. It features rhyming lyrics like

          “Oh ladies get a look at him,”
          “Just like a little cherubim,”
          “He must spend hours in the gym!”

And dialogue, like

          “But, tell me, how do you live?”
          “Oh. By eating and drinking. And breathing. Why? How do you live?”

Featuring a magnificently gifted cast, a talented orchestra and supported by a retinue of creative theatre artists, Spring has definitely sprung in the forest at the Owen Theatre with this magical Mozart in miniature.

Highly Recommended

Reviewed by Colin Douglas

Presented February 10-March 24 by the Goodman Theatre, on the Owen Stage, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.