On Nov. 20, “Die Fledermaus” debuted at Harrison Theatre. The production featured an alternating cast, so this article will review the performances of the Friday and Sunday night cast.
The German operetta, composed by Johann Strauss Jr. and dramatized by librettists Karl Haffner and Richard Genée in 1874, remains one of the most highly esteemed operettas written. An operetta combines the powerful vocals and orchestral accompaniment of an opera with the spoken dialogue of plays and was a precursor to the modern American musical.
“Die Fledermaus”, or The Bat, chronicles an evening of tricks, revelry and misunderstandings when a chambermaid, a wealthy couple and a prison warden are invited to a mysterious ball. The production uses comedy to its advantage and is particularly fond of meta-humor that pokes fun at the genre’s conventions.
Samford Theatre’s performance of the famed operetta was faithful to its source material and lived up to its popular reputation. The polished production was filled with stunning vocals and lighthearted comedy that made for an impressive and enjoyable viewing.
Packed with perfect harmonies and energetic ensembles, the music of the production was masterful. Every note felt as if it flowed naturally from the actors, and it was clear that Samford Theatre put a great amount of practice and effort into the production. The Samford orchestra was also impeccable and refined.
Benjamin Harding and Mary Taylor Spell’s performances as Gabriel von Eisenstein and his wife Rosalinde were full of chemistry, comedy and powerful arias. Willian da Silva’s performance as Frank the warden was also impressive. With a rich baritone voice, Silva rounded out the melodies beautifully and provided depth to the music that would have otherwise been lacking.
Caitlyn Waters’s performance as Adele the chambermaid was also spectacular. The longevity and fullness of her vocals never waned while she expressed very physical emotions in a comedic frenzy. Jacob King, as the stereotypical, overly romantic Italian Alfredo, also offered some great comedic moments and a voice that was as smooth as the silk robe he donned. Yianni Rokas’s performance of Dr. Falke was also notable, as well as Mark Castle’s meta performance of the drunken jailor, Frosch.
The set design and costumes of the operetta were also stunning. I was particularly fond of the Gatsby-esque ball in Act II, where the characters drunkenly paraded in 1920s dresses and silk suits in front of a lilac backdrop. The colorfulness of the scene perfectly matched the colorfulness of the ensuing evening.
Samford Theatre and Orchestra’s performance of “Die Fledermaus” ultimately left an impression that lasted more than an evening through their dedication and flawless execution of the classic operetta.
Staff Reporter
