The Lowry, Salford- until Saturday 9 March 2019.
Reviewed by Joseph Everton.
4****
The Lowry theatre, an angular and futuristic venue, seemingly crash landed near the water of Salford Quays like a spaceship returned from outer space, is colourfully lit with strips of purple and splashes of blue which reflect across the water. Almost as though they had the Lowry in mind, Opera North’s first production of Mozart’s The Magic Flute for over ten years was made to sparkle and seemed to draw inspiration from its host. Although a classic from 1791, the production was launched in 21st Century theatre using some stunning lighting and almost extra terrestrial projections which took an already excellent set and brought it to life. Was this stage or cinema?
Director James Brinning’s ambitious reimagining of the original brought a modern twist to the story, opening at a dinner party, with party goers set near the back of the stage and a young girl in bed near the audience. Was she dreaming? I wasn’t really sure, but she was plunged into a world of fantasy, the intricacies of which are challenging to explain. However, there were three all action, Kill Bill inspired ladies played by Lorna James, Helen Evora and Amy J Payne, who slaughtered a monster with swords/ light sabers; soprano, Vuvu Mpofu as Pamina; a talented queen, Samantha Hay; an impressive prince and tenor, Kang Wang, who delivered a perfect vocal; and Papageno who, played by Gavan Ring, delivered a performance which was the highlight of the evening, full of fun and energy.
The first act was playful, lively and blew apart all stuffy opera stereotypes. The stage was always full of colour and movement and over an hour of fun passed in a flash. The story developed nicely, introducing the cult leader and spiteful Sarastro, played with a hint of malice by the run-down John Savournin, who battled on admirably even though struggling with a cold.
The second act was slower and the plot a little confusing but that hardly seemed to matter. The Magic Flute was a feast for the eyes and ears, with Jeremy Sam’s English version of Schikaneder’s libretto making the performance all the more funny and accessible. I was thoroughly entertained.