A flute as magic as they come

A bold rewriting of Mozart's opera is a slow-burning charmer

The Magic Flute, The Merry Opera Company, Riverside Studios

You can always rely on Kit and the Widow’s Kit Hesketh-Harvey for stylish comedy, so when his latest creation – a bold rewrite of Mozart’s The Magic Flute for The Merry Opera Company – arrived at Riverside Studios it was already a step ahead of the rabble of chamber opera stagings that are currently taking over pubs, warehouses, theatres and churches across London. This is gem of a show, a real slow-burning charmer that creeps under any metropolitan cynicism, disarming with a grin and a quick quip.

Hesketh-Harvey’s concept neatly interweaves Mozart’s final months of life and the composition of The Magic Flute with a performance of the opera itself. Characters and themes bleed from world to world, with the endless bills of the composer’s anxious creditors transformed into the papery monster of the opening, the Mozarts’ domestic servants becoming the Three Ladies, while librettist and collaborator Schikaneder is reworked as the feckless Papageno – Tamino/Mozart’s best friend. Pamina, of course, is none other than Mozart’s own beloved wife Constanza.

It’s elegant, and despite the complexities of the meta-frame all is achieved with the minimum of dramatic fuss. This is a brisk two-hour show and cuts to the music are inevitable. Some may balk at this, but dialogue efficiently plugs any gaps and it avoids a perfect miniature sprawling too fleshily over the much narrower musical margins it so wisely sets itself. The emphasis here is on character and drama rather than music (the show is billed as a hybrid opera-pantomime), and if occasionally this balance feels a little extreme there are also generous compensations.

Nick Allen’s arrangement reduces Mozart’s orchestra to a piano, string trio and a single wind player. The woolly tone of Riverside’s upright is enough to make you weep, but pianist Stephen Hose keeps proceedings moving (occasionally at the expense of the singers), preventing the ubiquitous sag that can blight even the crispest drama. Most of the roles are double or even triple-cast, so you take pot-luck when you go, but it’s worth holding out for Daisy Brown’s Pamina who has the kind of winsome innocence (coupled with the best vocals of the evening) every fairytale princesss should have. Her “Ach, ich fühl's” in particular is beautifully controlled and judged.

Brown and James Harrison’s Papageno are a natural double-act, with the latter’s bumbling heroics greatly enlivened by the wit of Harvey’s translation. The transformation of serving-woman Floti into Papagena works neatly, and their closing duet is enchanting –a foil to the cod-solemnity of the Masonic scenes. Matthew Quirk’s Sarastro struggles in all but his lowest register, irredeemably weakening the weightier episodes, and calling undue attention to the limitations of this production in the disparity of its voices. Joe Morgan’s Tamino by contrast is unusually solid, producing a lovely full tone at the top with not a hint of pinch or nasality, and Claire Egan’s Queen of the Night deserves every cheer she gets for the unexpected comedic cameo of the night (and some excellent coloratura).

This is opera for people who don’t like opera, but more interestingly it’s also opera for those that love it. There’s a lot of affectionate humour here in the self-conscious business of the theatre, and it makes an approachable and intelligent comedy out of what could easily have become a coldly conceptual retelling. Hesketh-Harvey’s Flute is as magic as they come, so follow the chiming of its enchanted bells to the Riverside Studios here in London or catch up with them later in the year as the show tours the UK.


Claire Egan as Queen of the Night (Credit: Polly Hancock)

Alexandra Coghlan is the New Statesman's classical music critic.

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SRSLY #20: Friends, Lovers, Divers

On the pop culture podcast this week, we talk albums from Joanna Newsom, Bjork and Grimes, Todd Haynes film Carol, and comedy web series Ex-Best.

This is SRSLY, the pop culture podcast from the New Statesman. Here, you can find links to all the things we talk about in the show as well as a bit more detail about who we are and where else you can find us online.

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SRSLY is hosted by Caroline Crampton and Anna Leszkiewicz, the NS’s web editor and editorial assistant. We’re on Twitter as @c_crampton and @annaleszkie, where between us we post a heady mixture of Serious Journalism, excellent gifs and regularly ask questions J K Rowling needs to answer.

If you’d like to talk to us about the podcast or make a suggestion for something we should read or cover, you can email srslypod[at]

You can also find us on Twitter @srslypod, or send us your thoughts on tumblr here. If you like the podcast, we'd love you to leave a review on iTunes - this helps other people come across it.

The Links

Joanna Newsom, Bjork and Grimes

Joanna Newsom’s Divers doesn't seem to be on Spotify, but you can get it on iTunes here. Listen to Grimes’ Art Angels here and Bjork's Vulnicura here.

This is a good piece about Joanna Newsom.

This piece makes the comparison with Elena Ferrante that we talk about on the podcast.

Here's Grimes's own post about Bjork.

Tavi Gevinson's interview with Joanna Newsom (where she talks about liking Grimes).



Ryan Gilbey's review of Carol, which he calls “as tantalising as hearing a tender ballad on a tinpot transistor”.

Anna's piece about the photographers that influenced the visual style of the film.

An interesting Q & A with director Todd Haynes.



The full series is available to watch for free here.

Meghan Murphy on friendship break-ups.


Your questions:

We love reading out your emails. If you have thoughts you want to share on anything we've discussed, or questions you want to ask us, please email us on srslypod[at], or @ us on Twitter @srslypod, or get in touch via tumblr here. We also have Facebook now.


Our theme music is “Guatemala - Panama March” (by Heftone Banjo Orchestra), licensed under Creative Commons. 


See you next week!

PS If you missed #19, check it out here.

Caroline Crampton is web editor of the New Statesman.

Anna Leszkiewicz is a pop culture writer at the New Statesman.