Ranjit Bolt’s new and witty narration has brought elements from the original book and play, presented in this production by Orlofsky, who will introduce the characters and their situations from his perspective. This creates for us new and exciting possibilities for staging, whilst still embracing our vision of the authentic piece.

Die Fledermaus was first performed at the Theater an der Wien, Vienna on 5^th April 1874, the story is taken from the book das gefangnis by Roderick Benedix Berlin 1845, adapted for the stage by Henri Meilhac and Ludovic Halvey as their French vaudeville le Reveillon, Paris 1872.

In deciding to mount a new production of Die Fledermaus, much consideration was given regarding past and existing productions and how we could bring freshness to the work while remaining faithful to the original. A primary balance to be drawn was that between accessibility to a new and developing audience and authentic presentation of the work. We have decided that whilst remaining faithful to the score, presenting this work in its original German edition.

The costume designs are in keeping with its 1874 origins. Within our historic theme we have used original ballet costume designs as the inspiration for the period party gowns worn in Act 2. As with The Mikado, the designs are by Wilhelm, whose real name was John William Pritcher and who was the most famous and talented designer of his day as well as a prolific choreographer. Die Fledermaus has been created as a production capable of touring to venues which cannot usually present opera on a large scale to their audiences.

We have aimed to avoid a modern tendency to present this work in pantomime style. It has been our aim (without diluting its worth as an entertainment), to present a Champagne operetta, with truth and substance.

The Carl Rosa has an historic association with operetta, including performances of Maritana, The Bohemian Girl, The Lily of Killarney, A Country Girl and of course Die Fledermaus. So successful were these productions that they subsidised the company’s ventures into more serious work and
new writing.

We are then seamlessly transported (without an interval set change) to Act Two, with a turn of the pages of the scores, to that evening and a garden party at the Villa Orlofsky. Flaming torches in moonlight mingle with exotic and lavish costumes with a garden theme that introduce ladybirds, butterflies, a poppy, a snake and even a mysterious Hungarian countess as a preening peacock.

After too much champagne, we are transported again into the everyday greyness of the final Act, the Prison, which also seems a little drunk. False identities are revealed and all seem to be able to forgive, make up, and put the whole thing down to the bubbles.

We have endeavoured to create a New World for this brilliant operetta to inhabit without diluting the potency of the original as a true Champagne Operetta.

Peter Mulloy
Artistic Director