The Magic Flute – Greenwich Theatre, London

Composer: Mozart

Director: Valeria Perboni

Musical Director: Ishan Bhadra

For three nights, Opera Greenwich, a local community-based company, performs The Magic Flute. It is an ambitious choice for a company whose chorus and orchestra are local enthusiasts. The principals – and there are some notable performances – are emerging professionals. Having previously performed at St Alfege Church, this is Greenwich Opera’s first production at Greenwich Theatre.

The theatre’s space is not without its challenges. The stage is relatively small, so the orchestra are tucked to one side, out of sight of the performers. This creates an issue that the production needs to address. It is hard for conductor Ishan Bhadra to maintain consistency as singers and players are often not in time with each other. Lighting here is also problematic, the cast sometimes performing in semi-darkness.

Although director Valeria Perboni writes engagingly in the programme about the wealth of creative ideas that went into the production, the staging of them – and it’s all clearly run on a shoestring – is more problematic. It all looks rather drab apart from the video projections, which at times are in danger of being over-busy.

The solo performers are good. Most notable is Ben Watkins as Papageno. An appealing baritone, Watkins is also an excellent comic performer, truly bringing this part alive. Kennedy Blair Miller as Pamina has a lovely soprano. Grigore Riciu is a solid Tamino, and Meliza Metzger does her best with the notoriously tricky Queen of the Night. Ash Howard is an impressive Monostratos.

David Banbury as Sarastro has a gorgeous bass voice with an impressive range. He has commanding stage presence, using stillness as a weapon. Charles Naylon, too, as Sprecher, knows how to use this menacing stillness. And it’s this ability of the professional performer to embody stillness which the chorus and even some of the solo performers could learn from. The company would benefit from a movement co-ordinator, as the chorus, although clearly eager to respond, needs help to move as a single unit, especially on such a small stage. Even the small ensembles – the three first ladies (Antonida Kocharova, Megan Artemova Thomas, Lizzie Hawes) and the three spirits (Emily Varney, Antonia Thwaites, Jessica Harper) – have thoroughly choreographed sequences, but only a limited range of movements. With the three ladies and later with Papagena, there is a tendency to ham up the seductive gestures.

All the performers clearly enjoy themselves, and it is this enthusiasm which shines through.

Runs until 22 June 2025