The Magic Flute at the Coliseum

A timeless opera like Mozart’s The Magic Flute never fails to attract an eager audience, so presenting a new interpretation on stage is never an easy feat. Simon McBurney took on the challenging task of repackaging it for contemporary viewers in 2013. His cheerful, refreshing production is now back at the English National Opera’s Coliseum, revived by director Rachael Hewer.

On the surface, The Magic Flute is a simple story of a prince who must save a princess. The dilemmas that the characters face and the quests that they undergo, however, make it a far more nuanced and rewarding tale. Prince Tamino finds himself in danger and is rescued by three mysterious women. He is presented with a mission: to save Pamina, daughter of the powerful Queen of the Night, in order to win her love. Pamina was captured by a high priest named Sarastro, and Tamino immediately accepts to search for her upon seeing her portrait. He is joined by Papageno, a clumsy birdcatcher seeking love. Within Sarastro’s temple of wisdom, Tamino fights not only for Pamina but also for enlightenment, and while he’s busy undergoing various trials, the hidden motives behind the central conflict begin to emerge.

Translated very effectively into English by Stephen Jeffreys, the story flows smoothly and the humour is delivered cleverly and in timely fashion. McBurney isn’t afraid of steering away from traditional pathways and he even resorts to technology to add dynamism, especially in between scenes. There is also a kiosk-like box on one side of the stage where a foley artist can be seen using props to enhance the auditory experience by creating sound effects to accompany the action. In spite of these playful elements, the story retains its original essence and the music is as powerful and touching as one would hope and expect.

The only area in which the production falls short is in the overall atmosphere. In theory, this show is the epitome of magic, and yet it seems to lack this quality almost completely. This is mainly due to the choice of costumes, which include the prince and princess donning tracksuits, or Sarastro’s followers sporting office wear as they assemble. The modern attire sits oddly with the fairy tale feel of The Magic Flute and deprives it of its most beautiful quality. The toning down of the sense of wonder is perhaps the only reason why this may not be the ideal production for a person (especially a child) encountering this opera for the first time. In all other respects, McBurney’s version is a triumph that handles a marvellous classic with flair.

Mersa Auda
Photo: Manuel Harlan

The Magic Flute is at the Coliseum from 28^th February until 30^th March 2024. For further information or to book visit the theatre’s website here.