"It is inaccurate to say that I hate everything. I am strongly in favor of common sense, common honesty, and common decency. This makes me forever ineligible for public office." - H. L. Mencken

***

The Magic Flute
Impempe Yomlingo
Victoria Theatre, 30th May

Though Die Zauberflöte is my favourite opera, I've never actually seen it staged live. I was also curious to see what South African twist this production - a reimagining of Die Zauberflöte in a South African context and using South African instruments and musical traditions - would put on it, and if it would work.

In sum, it didn't.

Orchestration

The orchestration on marimbas and African drums did not produce a sound that could carry, even in the small Victoria Theatre (I was at the back of the Stalls - those in the Circle must've had it worse). Marimbas also cannot do running notes, so to ameliorate this problem (and to flesh out the rather bare orchestration) at many points the ensemble vocalised which didn't always work, not least when it obscured the singing of major characters.

Meanwhile, not only were the delicate flute and ringing glockenspiel replaced by a trumpet and what looked like metal jars filled with water respectively, many of the passages written for them (and for Papageno's pipes) were replaced by new phrases which ranged from insipid to awful.

Worse, the operatic style of singing that many of the singers were trying to affect (partially or mostly, and successfully or unsuccessfully) simply did not mesh with the sound of the instruments.

Although the vocal lines of the main characters were relatively untouched, in Zum Ziele führt dich diese Bahn, one Spirit sang the original lines layered on top of the other 2 (and some ensemble members) affecting a gospel stance, which was jarring.

Most disastrous of all, the harsh sound of the marimbas and drums (and worse, the hoots and racuous singing from the ensemble - see below) simply didn't work with songs meant to be tender, like Dies Bildnis Ist Bezaubernd Schon (though with faster-paced and more energetic ones like Schnelle Füße, rascher Mut, it did).

Singing

While most of the singers were at least decent, Pauline Malefane's Queen of the Night was a severe letdown. O Zittre Nicht had the messiest running notes I'd ever heard from a professional or amateur, at a performance or at a rehearsal, with her not only slurring them but trailing behind the orchestration.

Der Hölle Rache kocht in meinem Herzen was even worse. The arranger seemed to have realised that the marimba ruined this aria, but even the minimal marimba orchestration took the menace out of the aria. With worse-than-skeletal orchestral support, she then went out of tune (even though it sounded like it'd been toned down already). Coupled with her voice lacking the necessary power, she sounded more pathetic than commanding or menacing.

Luckily, Sarastro ("Simphiwe Mayeki or Sebastian Zokoza") had a solid bass, and Papageno ("Zamile Gantana or Phumzile Theo Magongoma or Lizo Tshaka") was good as well, with mischief in his voice (though he could've injected more).

Tamino ("Mhlekazi Andy Mosiea or Sonwabo Ntshata") had a thin voice, but he was adequate, though occasionally getting derailed at the high notes.

Dancing

What was presumably South African dance was injected into many parts of the performance. When the ensemble was cheering "Sarastro Vive!", I too let out a whoop of encouragement.

All this energetic dancing was an interesting touch, and enhanced the impact of scenes like Die Strahlen Der Sonne, but it wasn't always appropriate (as when one woman jived on the balcony at the end of Dies Bildnis; on a side note, it can get very distracting when people jiggle too vigorously).

In fact, it downright ruined some parts, as during Bei Männern, welche Liebe fühlen, when the ensemble's tolerable soft clapping was joined by their singing and soon descended into the banging of drums and their whistling, ululating, dancing and waving their hands in the air; or at the end of Act I and the start of Act II, with energetic dances not befiting the gravitas of a Masonic ritual (presumably the Masons have a branch in South Africa too, and anyway the virtues of Tolerance, Justice and Truth are universal; the Priests were bowing their heads while the racket was going on around them, so at least they understand the meaning of solemnity).

While the production's energy was undoubtable, energy in and of itself does not always work. Even bacon is bad if used in desserts (or most desserts, anyway).

Staging

The set was very simple, with virtually no backdrop and touches reminiscent of school plays, like words on cloth reading "Sarastro's Place". Though simple, it served its purpose, and also fitted the stripped-down orchestration.

Little material seemed to have been cut; the only cut aria I could identify was Alles fühlt der Liebe Freuden. Whether it was to further villify Monostatos, who was painted very unsympathetically, or in the interests of time, I do not know. They also cut the scene where Papageno meets Papagena for the first time, which makes his delight at finding her later on puzzling (and makes him look even more desperate than he already is).

The opera was transferred to the South African context quite effectively, with the 3 ladies' weapons being sharpened wooden sticks and Sarastro being clad in white robes I'd imagine village headmen wear. However, in the Ordeal of Fire and Water, Pamina and Tamino are annointed with white face paint, have white towels placed around their shoulders. They then enter a trapdoor out of which smoke is pouring and later have to be pulled from it, unconscious. This makes them look like customers at a health spa who enter a steam room, only to be overcome by the heat.

Miscellaneous

It struck me that the cast was much less racially diverse than the South African rugby team (in fact, it appeared to be the same as that of Bafana Bafana), but I doubt anyone is complaining.

The egalitarianism of the company was also interesting, with even major characters (and the director!) taking turns to play instruments. They looked like they had a lot of fun playing.

Before each act, the cast members milled around on stage talking to each other. This made it look like a market scene.

The use of languages other than English (presumably South African ones) added touches of authenticity (so to speak), but surtitles would have been nice.

O Isis und Osiris became "our ancestors". But Isis and Osiris are African what!

Conclusion

All its flaws notwithstanding, The Magic Flute was popular with the audience, probably for its sheer novelty and energy. The various audience-pleasing touches didn't hurt, with one neon sign reading "The Spirits" and another in the shape of a crescent moon; putting the 3 Spirits in pink nightdresse with teddy bears; and at another time, dressing the 3 Spirits as ladies in neatly cut dresses with handbags.

Then again, most of the audience was probably clueless, as everyone clapped at the end of the Overture's exposition (or maybe they were polite - as at atrociously bad SSO concerts).

While The Magic Flute was a good experience and was interesting, I will treat it like seal meat - once is enough, and I wouldn't go back for seconds.