RWB’s The Magic Flute performed with resilience, humour

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This article was published 01/05/2021 (1924 days ago), so information in it may no longer be current.

Even in his wildest dreams, Montreal-based choreographer Mark Godden could never have imagined that his fantasy ballet The Magic Flute premièred by the Royal Winnipeg Ballet in 2003 and last performed here in 2007 would be entering its own realm of COVID-19 friendly facial masks, HD film cameras and strategic physical distancing; with its archetypal tale of good versus evil and the enduring power of love brought to life by three reduced sized cohorts of dancers.

But these are very different times, and the 81-year old company along with its former resident choreographer has proven once again its plucky resilience in re-staging the 80-minute production in lockstep with a global pandemic. The three-show run filmed at the RWB’s intimate Founders Studio theatre by local Indigenous-owned production company, Strongfront.tv opened Friday night and will be available on demand through May 16.

Inspired by Mozart’s famous 1791 opera, the story ballet depicts Prince Tamino, beseeched by the Queen of the Night to save her kidnapped daughter Pamina from estranged husband Sarastro. Opera plotlines are known for twisting themselves into convoluted narrative pretzels; a ballet adaptation further distilled to a series of bare bones pivotal scenes, with (most) lead roles portrayed by several tag team, real-life masked couples, able to perform physically connected choreography during this season of COVID-19, offers its own challenges in terms of keeping everything straight.

Having said that however, the RWB is clearly finding its digital footing with each of its now total three streamed productions becoming slicker and more polished. Intuitive filming including effective close-ups of dancers’ faces underscores the acting abilities of its company members, now tasked to project the emotional nuances of their characters through their animated eyes, as much as a lexicon of classically-based movement vocabulary and gestural mime.

Godden’s always wonderfully inventive choreography (with this 2021 version of Flute magically re-worked via Zoom from his Montreal home) is always packed with humour and this show is no exception. Imaginative props/sets including a Polaroid camera and TV set, as well as playful tickling fights and a final surprise – no spoiler alerts here – add both texture and levity throughout.

Soloist Yue Shi, second soloists Stephan Azulay and Ryan Vetter (the latter retiring this spring) sharing the protagonist role of Tamino bring requisite heroism to their portrayals, matched equally by Pamina performed by soloist Chenxin Liu and corps de ballet member Katie Simpson, with each ballerina bringing out their character’s vulnerable humanity.

A special mention goes to second soloist Liam Caines for his menacing Sarastro, cutting an even more darkly dramatic swath in costume designer Paul Daigle’s swirling orange/red robes as the high priest of his order. Second Soloist Katie Bonnell successfully captured the razor’s edge duality of her Queen of the Night, who lords power while driven to protect her own. Final kudos to Corps de ballet member Peter Lancksweerdt as Sarastro’s devoted student, Monostatos.

Other highlights were a perfectly cast Papageno, the Queen’s “simple servant” performed by soloist Yosuke Mino. His love-interest, Papagena, brought to exuberant, pig-tailed life by soloist Alanna McAdie crackled with personality, with the couple’s several pas de deux including dearly missed, now rare lifts.

The three Glamazons (Jaimi Deleau, Elena Dobrowna, Elizabeth Lamont) were back, as sexy sirens attempting to seduce Papageno and challenge Tamino with every pirouette and hip squiggle, not to mention artfully executed, intricate pointe work.

The production also includes Daigle’s pared-down set design featuring a large glass brick wall vaguely symbolizing Tamino’s growing realization of his purpose in life, and sound design by Jean-Pierre Côté including several voiceovers paying homage to the opera’s “singspiel” roots.

Finally, Pierre Lavoie’s brilliant lighting design further heightened the story’s epic battle between dark and light forces; a potent tale as resonant now as when first penned in 1791.

The production will be available on demand until May 16. For tickets or further information, visit the RWB’s website.

holly.harris@shaw.ca