Like a tempting glass of champagne in the middle of Dry January, Cedar Rapids Opera’s production of Johann Strauss’s Die Fledermaus on Jan. 16 and 18 was a perfectly frothy, frivolous escape from the dark and dreary winter.
The Paramount Theatre was a fitting venue for the operetta, with its decadent decor and outstanding acoustics. The curtain rose to reveal an equally stunning set, designed by Jefferson Ridenour. The scenery was elegant and simple, featuring lush furniture and large window frames. Colorful lights and projections, designed by Scott and Kristen Olinger, provided a radiant background that transformed throughout the story. Glenn Avery Breed’s costume designs were just as vibrant, an opulent plethora of rich fabrics, delicate beading and bright feathers.
Conductor and artistic director Daniel Kleinknecht led the orchestra in an airy, energetic performance. The ensemble navigated Strauss’s charming score with ease, bouncing and gliding beneath the singers like a dancer supporting their partner, and the chorus provided a playful visual and musical backdrop that highlighted the hilarity without distracting from the main narrative.
Die Fledermaus featured a cast of talented singers with true comedic sensibility. Even the smaller roles such as Dr. Blind and Sally, portrayed by Max Alexander Cook and Virginia Reed, earned plenty of laughs. Stage director Dean Anthony nearly stole the third act as Frosch the inebriated jailer, a speaking role that delivered a bevy of knee-slapping puns — the kind of dad jokes that would make even the surliest teenager chuckle.
Edward Brennan sang the role of Alfred, the amorous opera singer. With an Italian accent reminiscent of everyone’s favorite video game plumber and a crooning tenor voice that had his love interest swooning, Brennan was perfectly ridiculous.
The jail warden Frank was portrayed by young artist Steve Groth. Groth’s baritone voice was rich and surprisingly agile, his dramatic performance ranging from irritable straight man to inebriated false Frenchman and back again.
Chad Sonka was a cheerful Falke, the orchestrator of the convoluted comedic plotline. Sonka sang the role with a mischievous glint in his eye, but I wanted more glimpses of the resentment lurking behind Falke’s frivolous mask.
Chuanyuan Liu gave a fabulously eccentric performance as Count Orlofsky, the chronically bored host of the lavish party. The role is commonly sung by mezzo sopranos, but Liu’s brilliant countertenor voice is well suited to Strauss’s lively music. Liu was a playful, boot-clicking menace onstage, fluctuating from deadpan scowls to bursts of humorous anger that had the audience laughing even as he advised them to leave the theater.
Emily Secor sang the role of Adele, the chambermaid masquerading as an actress. While Secor’s voice had more heft than the role usually calls for, the soprano’s aria in the second act was effervescent and acrobatic. The character Adele is prone to overacting, and Secor embraced the absurdity with endearing enthusiasm.
Eisenstein, the unwitting victim of Falke’s prank, was portrayed by Brian James Myer. The baritone’s face and voice were both remarkably expressive, navigating the physical hijinks and vocal demands with ease.
Keely Futterer commanded the stage as Eisenstein’s wife Rosalinda. She struck just the right balance of dramatic vocals and melodramatic acting, particularly in her second act aria when disguised as a Hungarian princess.
The stage direction by Dean Anthony captured the giddy charm of Strauss’s beloved operetta. Even in the crowded party scenes, the focus was always on the main narrative. While I did find the use of certain visuals to be a bit repetitive, I appreciated this production’s willingness to break the fourth wall. Those tongue-in-cheek moments let the audience feel like they were in on the joke, which only drew them further into the story.
If champagne were an opera, it would undoubtedly be Strauss’s Die Fledermaus. The second act even ends with an ode to the celebratory beverage, so I think the composer would agree. Just like champagne, Cedar Rapids Opera’s production leaves the audience refreshed and craving more, and I’d like to raise a toast to the company for bringing this bubbly comedy to their local stage.
