Theater Review: Buffoonery Meets Bubbly With OTSL’s DIE FLEDERMAUS

To celebrate its 50^th season Opera Theatre of St. Louis didn’t just uncork a bottle of bubbly. They went and got the good stuff and gave all those who partook a giddy swill of euphoria.

This is the feeling of dizzy headiness associated with the company’s opening opera, Die Fledermaus. Originally slated for production in 2020 its staging was canceled by the pandemic. Now, five years on, it is the last of the postponed presentations from that season to be staged. But the wait was worth it.

A comedic opera composed by Johann Strauss II, Die Fledermaus is a lively twist on marriage and mistaken identity that also takes swipes at the excesses of the upper class. The relentless satire is wrapped in infectious waltzes and bouncing melodies.

Under the direction of Shawna Lucey, this OTSL production turns the volume up to eleven. It’s a loud party with garish costumes, plenty of music, singing, dancing and lots of champagne.

Die Fledermaus sizzles. Set in the 1950s, this adaptation sprinkles in some Weimar naughtiness and Keaton-esque physical comedy to make the laughs and lavishness rise to the top.

The opera opens with raucous happenings on the New York subway as costumed partiers Gabriel Von Eisenstein and Dr. Falke, dressed as the Green Lantern and Batman, exhibit goofy bawdiness much to the chagrin of the other passengers.

Their boisterous night out leads to Falke being abandoned in the middle of town in his costume. Feeling embarrassed and betrayed, he promises Eisenstein that he will have his revenge.

Several years later, Falke’s plan is put into motion when he arranges for his friend Prince Orlofsky to host a masked ball so he can turn the table on Eisenstein. To make his plan truly humiliate his friend he arranges for Eisenstein’s wife Rosalinde to attend, disguised as a beguiling Hungarian countess.

At Eisenstein’s home his antics have finally caught up with him as he prepares to depart for jail after committing the minor offense of insulting a public official. He is persuaded by Falke to delay starting his term for one night so he can attend Orlofsky’s masked ball. Known for unchecked debauchery and flowing champagne, Orlosky’s affairs are sought after by every socialite in the city.

Pretending to leave for jail, Eisenstein, who is unaware of the impending prank, says goodbye to Rosalinde. With her husband out of the picture temporarily, Rosalinde is free to commiserate with Alfred, her former lover who has just decided to drop by.

When Alfred arrives to see Rosalinde, he showers her with affection. However, their joyful reunion is interrupted by a visit from the prison warden who has come to arrest Eisenstein. Things get worse for Alfred after he is mistaken for Gabriel and taken away to the slammer.

At the ball, Falke’s plan unfolds. In addition to Eisenstein, he has invited Frank, the local warden (disguised as an upper crust Frenchman) and Eisenstein’s housemaid Adele (disguised as Tanya, an actress) and her sister Sally.

Rosalinde arrives at the party in her Hungarian countess disguise. She quickly becomes the center of attention as she enchants everyone there, including her husband, who is unaware of her identity.

As the champagne pours the partiers get looser. Eisenstein capriciously flirts with the “countess.”

Although everyone at Orlofsky’s party is having a grand time, the revelry must eventually end. As evening turns into early morning the partiers become more spirited.

Hungover, the warden is awakened the next morning at the jailhouse as Eisenstein shows up to turn himself in. Wackiness ensues when he discovers that Alfred has already been locked up after being mistaken for the real Eisenstein.

As the party comes to Frank’s jail, more mayhem leads to a flurry of confrontations and revelations that leave everyone laughing and jovial.

Filled with booze and bedlam, OTSL’s latest production features a gifted ensemble. Highlighting the production is Sara Gartland as Rosalinde. This soprano’s debut is filled with pizazz, giving her character a perfect blend of spirit and independence. Her majestic voice brings a burst of fresh air to the company.

Also excellent in his debut is Edward Nelson as Eisenstein. His duets with Gartland are perfect. His comedic chops are pretty good too. Their pairing as a will-they-or-won’t-they couple helps propel some of the opera’s hilarity.

Former Gerdine Young Artist Johnathan McCullough returns to OTSL with a flourish as the sly Dr. Falke. His rich baritone and slapstick comedy coalesce in a dazzling performance as the merry prankster.

Deanna Breiwick’s exceptional voice is matched with a gift for comedic timing. As both Adele the housemaid and Tanya, her party alter ego, she provides many of the opera’s lighter moments.

Robert Mellon balances a turn as a no-nonsense law official and a partying French aristocrat to perfection. Relying on physical comedy and a horrid accent he steals many of the opera’s best scenes.

Joining Lucey in bringing this energetic entertainment to life is Conductor George Manahan. His score, featuring members of the St. Louis Symphony Orchestra, provides a playful exuberance that underscores the drama onstage.

The opera’s visual presentation is dazzled with color thanks to Robert Innes Hopkins, whose set designs capture the functional unitarianism of the 1950s. His stage backdrops are brilliantly in direct contrast to the bold and brash costumes he’s selected for dressing his performers.

Laugh out loud funny, playful and sublimely charming, OTSL’s season starter sparkles like champagne. Breezy and light, Die Fledermaus is heavy on snorts and giggles, making it the ideal opener for this celebratory season.

Die Fledermaus runs through June 28 at the Loretto-Hilton Center on the campus of Webster University.

Productions at Opera Theatre St. Louis are in English with musical accompaniment from the St. Louis Symphony Orchestra. For more information on programming for the 2025 season, visit opera-stl.org.