Die Fledermaus Review: Strauss Opera Lacks Fizz but Has Charm 2026

Die Fledermaus review reveals that Johann Strauss’s beloved operetta, while full of charm and wit, struggles to maintain its effervescence in Opera Holland Park’s new staging. The production, directed by Liam Steel, sets the action in London on New Year’s Eve 1929, adding a louche Noël Coward flair to the 19th-century Viennese classic. Despite some delightful moments, the bubbles rise too late, leaving the audience wanting more sparkle.

Die Fledermaus Review: A Fresh Take on a Classic Operetta

This Die Fledermaus review highlights the creative decision to use the Metropolitan Opera’s 2013 English version, with lyrics by Jeremy Sams and a new book by Douglas Carter Beane. The setting shift to 1920s London brings cheeky references to the Sitwells, Mitfords, and even Winston Churchill’s alleged dalliance with Ivor Novello. These witty touches add layers of sophistication, but the execution sometimes falls flat.

Staging and Design: Mixed Results

Neil Irish’s set design offers a mixed bag. The first act’s salon, with its free-standing doorframes, feels insufficiently nouveau riche, though it allows performers intimate contact with the audience. The second act’s art deco ballroom, featuring a gilded Degas centrepiece, has more visual flourish but is confined to the rear, making the company feel distant. It’s the third act’s police station, complete with an affable bobby (Robert Burt), that finally raises the chuckle level.

Performances: Strong Voices, Inconsistent Acting

Rebecca Bottone delivers a compelling performance as the put-upon wife, while Xavier Hetherington shines as the libidinous tenor Alfred, singing “Drink another drink with me, you’ve had none and I’ve had three” with stentorian Italianate flair. However, the acting can be inconsistent, with act one occasionally veering into Acorn Antiques territory. Still, the strong vocal performances carry the production.

Comparison: Die Fledermaus Productions

Key Takeaways from Our Die Fledermaus Review

• Creative setting adds wit but delays the fizz.
• Strong vocal performances from the leads, especially Bottone and Hetherington.
• Act three provides the most comedic relief.
• Sams’ lyrics are elegant and entertaining.
• Set design is uneven, with the ballroom being the highlight.

FAQ About Die Fledermaus

In conclusion, this Die Fledermaus review acknowledges the production’s clever concept and strong musical moments, but the lack of consistent fizz may leave purists wanting. For a delightful evening of operetta with a modern twist, it’s still worth attending, especially for the third act’s comedy and the sparkling lyrics.