The Magic Flute Lite – Leeds Grand Theatre

Composer: Wolfgang Amadeus Mozart

Libretto: Emmanuel Schickaneder

Conductor: David Cowan

Director: Lauren Poulton

This was not your typical opera crowd. At 2 o’clock the steps in front of the Grand Theatre were crowded with enthusiastic, if slightly bewildered, children – average age, at a guess, nine or ten. They were there forThe Magic Flute Lite, a reduction of James Brining’s main season Opera North production to make it more appealing to young children. The question was: what to cut? The original production runs to nearly two and a half hours stage time; this one came in at nearly an hour less.

The reduction (and the programme gives no indication of who did it) was remarkably skilful. The near-80 minute second half, chopped to about 45, did suffer the loss of occasional numbers (In dieser heil’gen Hallen or the wonderful Bachian chorale for the two Armed Men), plus a fair bit of dialogue, but the second act does settle into a solemnity which would have tried the average 10-year-old’s patience. The part of Monostatos is also reduced, sparing the little ones the worst of his depravity. Apart from this, clever little cuts – extra verses and so on – gave the whole thing tremendous pace without the sense of losing anything. Entrances overlapped with exits and a few jerky moments could be forgiven.

Not surprisingly, the end result, spryly directed by Lauren Poulton, delighted the children and the production will again be seen in morning showings at the theatres on tour.

A high quality cast included two of the main season members in rather larger parts. Pasquale Orchard, a delightful Papagena previously, stepped up to become a sweet-voiced and expressive Pamina as well as serving as a charming go-between to the audience before each act. Andri Bjorn Robertsson moved up from The Speaker to Sarastro, exhibiting the same dignity and sonority. And there was a bonus: owing to illness, Nazan Fikret stepped in from the main cast as the Queen of the Night, pinging the top notes with nonchalant ease.

Osian Wyn Bowen’s Prince Tamino was all heroism and sterling delivery and Themba Mvula was a revelation as Papageno. Quite different from Emyr Wyn Jones’ Welsh scene-stealer, he displayed a nice line in cheek and more than a little agility: the scene with Papagena (Ellie Neate) was again a delight. The three light-sabre-wielding Ladies (Kathryn Stevens, Hannah Mason, Molly Barker) were as redoubtable as ever and threw in more than a little visual comedy.

Of courseThe Magic Flute is admirably suited to youngsters: the mix of magic, romance and slapstick has instant appeal, even if the spiritual side is harder to follow – and, in truth, rather dodgy! Apart from that, Mozart made Three Boys a key element and this production added in some eight or so other children, all eleven performing with perfect timing and a great sense of fun.

David Cowan’s conducting never let up on tempo and the chorus and orchestra responded magnificently.

Reviewed on 20th February 2025. Repeated on tour.