In Peter Shaffer’s 1983 classic stage play “Amadeus,” lead character Salieri has this to say about the shabby venue where Mozart’s “The Magic Flute” was originally staged: “The smell of sweat and sausages was almost annihilating!” While the sensorial details of The Goodman Theatre’s Owen space are far more pleasing, I could not help but remember that line while enthralled with Mary Zimmerman’s new production of “Flute,” and how well it conjures the same splendor and delight that audiences may very well have experienced centuries ago in 1791.
The plot of “The Magic Flute” is almost too absurd to detail: Prince Tamino is saved from a dragon by three spirits, who are in the employ of the wicked Queen of the Night. Also in her employ is the ravenous Papageno, a bird-man of sorts who works for food and yearns for a wife. Meanwhile, the queen’s daughter, Princess Pamina, is being held captive by the dreaded Sarastro – and Tamino, upon seeing a photo of Pamina, instantly falls in love with her. I could go on, but rest assured, the ensuing narrative includes ludicrous trials of love, escapes and abductions, stolen voices, and plenty of other hijinks.
And with Zimmerman’s boundless invention, a remarkable cast of actors, and a delightfully talented creative team, the result is an absolute gas. From the exasperated bellows of Shawn Pfautch’s Papageno, to the remarkable sopranos of Marlene Fernandez (Pamina) and Emily Rohm (Queen), to Amanda Dehnert’s expert direction of the five-person orchestra, to the transportive sets of Todd Rosenthal, every element of the product leans into the absurdity with aplomb, delivering a much-needed evening of levity amidst these precarious times.
Fans of Gilbert & Sullivan (and of the defunct Chicago company The Hypocrites) will especially enjoy this new production.
Highly recommended
Playing through March 24 at The Goodman Theatre
Tickets available at GoodmanTheatre.org/Flute, or by phone at 312-443-3800.