An Entertaining, Pocket

“All women need a man beside them” declares the Speaker as he instructs Tamino in the Temple of Wisdom, his misogyny prompting a few knowing smiles in Richard Studer’s new production of Mozart’s 1791 Singspiel. No gasps of outrage, more gentle acceptance in leafy Hampshire as notions of equality unfold within Amanda Holden’s updating of Emanuel Schikaneder’s convoluted libretto. Thankfully, the work’s exploration of Enlightenment values, narratives on morals and power are all given a light dusting, and any associations with freemasonry are all but erased in this likeable staging. Mozart conceived The Magic Flute for a theatre in a Viennese suburb for an audience used to family entertainment. Popular appeal is the route Studer has wisely taken, prioritising storytelling and pantomime, though not ignoring references to brotherhood, masonic initiation and the abandonment of ancient superstition for Reason. Notwithstanding overt sexism, a partnership of equals emerges between Tamino and Pamina, and after several testing ordeals through fire and water they eventually celebrate their joyful union. Relatively recent productions of Flute have included stagings set in an Edwardian hotel (Glyndebourne), a hospital-based version (Royal Academy of Music) and a funky futuristic presentation (WNO). At West Green, Studer keeps things straightforward and opts for a non-specific location and beyond any definite timeframe. There are no gimmicks, no interpretative slants, no tedious reinvention that directors like to inflict on the public. Instead, there’s a fine balance between knockabout comedy and the weighty truths propounded in Sarastro’s Temple. As always at West Green, Studer makes the best of limited resources and presents a two-tier arrangement of a mini theatre (a proscenium stage), bearing pen and ink style images of ancient Egypt, perched on a raised platform around which most of the cast perform. At the front of the stage the inscription ‘Orlando furioso’ provides a literary allusion to the epic Renaissance poem that tells of heraldic deeds, amorous encounters and fantastical adventures – all of which occur in Mozart’s opera. Either side are cut outs of the sun and moon, symbols of light and dark, or good and evil, which are then mirrored (with a few exceptions) in Jill Rolfe’s unambiguously black and white costumes. Casting is impressive with several singers already enjoying successful operatic careers in the UK and abroad. Leading the team is William Morgan as a full-throated and ardent Tamino. I will look forward to hearing more of him when he can exhibit greater tonal variety. That said, his Act One portrait aria, “Dies Bildnis ist bezaubernd schön” was delivered with just the right degree of nobility. His Pamina, a compassionate and clear-voiced Harriet Eyley, developed a natural bond with Mark Nathan’s comic foil Papageno, their opening duet on the virtues of marriage especially rewarding. She found her form in “Ach, ich fühl’s”, her sense of loss and despair totally credible. I was less convinced about the attempted suicide of Papageno – his sunny optimism, in this instance, never quite providing a solid reason for wanting to take his own life. Yet he fashioned a winning partnership with Kirsty McLean’s feisty Papagena, an amusing crone and wife-to-be, their closing duet handsomely sung. The Grand cru of performances came from each end of the treble and bass clef: Nazan Fikret brought her dramatic gifts as the Queen of the Night and flame grilled her revenge aria, while Sion Goronwy found depth of tone in “O Isis und Osiris” and dignity of expression as a benevolent Sarastro. Whether stratospheric or cavernous, their performances blazed with conviction. Peter Van Hulle and Frazer Scott compelled, respectively, as the would-be rapist Monostatos and the Speaker, Van Hulle more camp than repellent, though undeniably not someone you would entrust to your daughter. Making the most of their cameo roles were the Three Ladies – Galina Averina, Lowri Probert and Georgia Mae Bishop – each leaving a strong impression. There was much to enjoy too from a mellifluous trio of guides – Jennifer Clark, Kristina Nikiforova and Angharad Davies-White – all seemingly dressed like boys from Frank Richards’s Greyfriars School. And keeping everything ship-shape was Jonathan Lyness who coaxed much agreeable playing and well-judged tempi from the 18 players of the West Green House Orchestra. The modest instrumental forces were no barrier to a richly entertaining evening, the whole supported by strong vocal performances. David Truslove The Magic Flute Music: W.A. Mozart Libretto: Emanuel Schikaneder with an English translation by Amanda Holden Cast and Production Staff: Tamino – William Morgan: Papageno – Mark Nathan; Pamina – Harriet Eyley; Queen of the Night – Nazan Fikret; Monostatos – Peter Van Hulle; Sarastro – Sion Goronwy; Papagena – Kirsty McLean; First Lady – Galina Averina; Second Lady – Lowri Probert; Third Lady – Georgia Mae Bishop; First Spirit – Jennifer Clark; Second Spirit – Kristina Nikiforova; Third Spirit – Angharad Davies-White; Speaker of the Temple – Frazer Scott; Priest – Dafydd Allen Director / Designer – Richard Studer; Lighting – Sarah Dell; Costumes – Jill Rolfe; West Green House Orchestra; Conductor – Jonathan Lyness West Green House Gardens, Hartley Wintney, Hampshire; Saturday 19 July 2026 All photos by R. Studer