The Magic Flute – Wilton’s Music Hall

Eleri Gwilym in The Magic Flute at Wilton’s Music Hall, London. Picture: Bill Knight

The Magic Flute continues at Wilton’s Music Hall, London until 8 March 2025.

Star rating: five stars ★ ★ ★ ★ ★

Mozart’s family-friendly masterpiece The Magic Flute is given some English patter in this new, clever and deliciously cheesy translation from John Savournin (book) and David Eaton (lyrics).

As in Mozart’s day, the joke-filled dialogue is spoken between the songs and has the audience in stitches. The story features magic bells, the Queen of the Night, and the eponymous magic flute. Tamino, a prince, wanders over a mountain and finds himself in the Kingdom of the Queen of the Night. There he meets the bumbling bird catcher, and comedy turn, Papageno. He saves the beautiful Pamina from the evil Monostatos, and together they survive trials of fire, water and silence.

In this Charles Court Opera extravaganza, our Tamino is a lost explorer who finds himself near an Inca temple. Lucy Fowler’s designs drip with the heat of the jungle, and magical creatures abound. Luscious vines drape the stage and coil up the auditorium’s pillars. The atmosphere is set with a cacophony of exotic insect noises before the music starts.

Ben Pickersgill’s lighting, which is soft green and uses dramatic shadow, adds to the sense of place. Luminous snakes toy with Papageno and Tamino, and large, colourful birds comment on the action with wry expressions (think what Gromit of Aardman fame can do with the slow turn of his head). To the delight of the audience, the birds even hijack the singing at the start of the, ‘pa-pa-pa’, duet. The snakes and birds are puppets operated by the versatile cast. A giant ancient Inca lady morphing into the three boys is genius.

James Hurley’s direction is well-paced. This story about the darker side of humanity finding the light is deftly handled, and comedy and truth always win. Eaton keeps the show moving with his energetic piano accompaniment.

Martins Smaukstelis is a sincere Tamino with imposing stature and a fabulous tenor voice. Alison Langer is a stunning Pamina with a warm tone and exquisite phrasing. She also sings one of the boys in part of the finale.

The three ladies, Meriel Cunningham, Martha Jones and Sarah Prestwidge, sing their opening trio with lust as they drool over Tamino. These hardworking singers also perform as the three boys and all of the choruses. As the three ladies, they have a dramatic edge to their tone, while as the boys, they have a softer quality. Prestwidge also has a star turn as Papagena. Peter Lidbetter is a commanding, rich-voiced Sarastro. Joe Ashmore’s lecherous, pit helmeted Monostatos is finely sung.

Matthew Kellett’s perfect comic timing is put to good effect as an excellent Papageno. He interacts with the audience with comic expressions that keep the laughs coming throughout the evening. As Queen of the Night, Eleri Gwilym sings her famous arias with precision, panache and often funny coloratura. It’s not easy to rip off a bird’s head (even a comic one) while singing a high ‘F’, but Gwilym does it with style.

This is a highly entertaining evening of world-class singing and pure, unadulterated fun.

Effie Gray

N.B The original set design was by Simon Bejer and the original direction was by John Savournin