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

Die Fledermaus review: Johann Strauss's beloved operetta gets a stylish but uneven revival at Opera Holland Park, where the champagne bubbles rise too slowly. This new staging, directed by Liam Steel, trades Vienna for London 1929, adding Noel Coward-esque wit but struggling to maintain consistent fizz throughout.

Die Fledermaus Review: A Fresh Setting with Mixed Results

Steel's production uses the Metropolitan Opera's 2013 English adaptation with lyrics by Jeremy Sams and a book by Douglas Carter Beane. The shift to a New Year's Eve party in 1929 London brings clever references to the Sitwells, Mitfords, and even a cheeky Churchill-Ivor Novello joke. These touches give the operetta a louche, sophisticated charm, but the execution often falls short of the concept's promise.

The first act, set in the Eisensteins' salon, feels underwhelming—Neil Irish's set with free-standing doorframes lacks the intended nouveau riche opulence. However, placing it on the forestage allows performers to connect intimately with the audience. The second act's deco ballroom, complete with a gilded Degas centerpiece, offers more visual flourish but distances the ensemble at the rear of the stage. It's the third act, in a police station with a delightful bobby played by Robert Burt, that finally delivers the needed laughs.

Performances and Musical Highlights

Rebecca Bottone shines as the put-upon Rosalinde, bringing both vocal agility and comic timing. Xavier Hetherington's Alfred is stentorian and suitably Italianate, delivering Sams' witty lyrics with relish—"Drink another drink with me, you've had none and I've had three." The acting is inconsistent, with act one occasionally veering into Acorn Antiques territory, but strong moments emerge as the evening progresses.

Steel's direction includes nice bits of physical comedy, and the orchestra under the baton of [Conductor Name] captures Strauss's effervescent score, even if the staging doesn't always match its energy.

Comparison: Opera Holland Park vs. Traditional Productions

Key Takeaways from This Die Fledermaus Review

• Strong English adaptation with witty lyrics by Jeremy Sams.
• Act III is the highlight, with Robert Burt's charming bobby stealing the show.
• Visuals improve in Act II but suffer from distance due to staging.
• Inconsistent acting in early scenes, but overall performances improve.
• Not for purists, but enjoyable as a fresh interpretation.

FAQ

In conclusion, this Die Fledermaus review finds a production with plenty of style and wit but lacking the sustained effervescence the operetta demands. While the third act delivers the charm, earlier scenes struggle to sparkle. Still, for those seeking a fresh take on Strauss's classic, this is a worthwhile evening.