Review
The Magic Flute
BOTTOM LINE: An abstract comedy devised by an ensemble cast using the libretto of the opera The Magic Flute.
Under the leadership of Kate Marvin, a talented cast of creative theatre artists delved into the material of Mozart’s The Magic Flute and through exercises and improvisation created their own performance. Target Margin’s production contorts and cavorts with the characters and conflicts of this opera as well as the themes and sensibilities of classic opera in general before shifting into an exploration of the importance and power of music.
As soon as I entered the theatre space, I was invigorated by the energy of artistic passion that permeated the room. The space was alive with the energy and glee of excited performers and patrons alike. It was clear that audience and actor were both actively investing in the night’s performance.
And the show itself grew from that energy. The Magic Flute is a fast-paced, frequently transitioning smorgasbord imbued with a spirit of joy and ensemble. Every actor on the stage is clearly invested in the work and loves every minute of performing.
Beyond that, each collaborating actor brings more to the table than just his or her performance. It’s an interesting, dynamic group of people, each of whom has his or her own distinct grab bag of talents to contribute. And because of the vaudevillian style of parts of the show, the audience is able to see a plethora of those skills. While watching The Magic Flute I thought, “if I was at a party with these people, I’d be having the best time.” And then I realized, I WAS at a party with these people. That’s what this show is.
This piece is an abstract, deconstructed, devised performance, but it’s user friendly. It’s not a heavy, theatrecentric piece that only dramaturges can enjoy. Kate Marvin’s The Magic Flute is a party and we are all invited. Anyone from a theatre snob to a neophyte can enjoy this show.
Because of the nature of the piece, there isn’t a cast member who doesn’t shine. Each actor gets moments to display his or her comic schtick, his or her musical talent, his or her charm. John Kurzynowski propels through the space as a meteor of energy, endearing the audience with his faux Germanic accent and winning an ovation for the performance of his hilarious monologue. Conversly, Stephanie Weeks steals the stage with stoicism, first as the stony sorceress and then again by deadpanning throughout a dance break. Julia Sirna-Frest is simplest of all, bringing peels of laughter from the crowd with just a well-timed look or drop in her voice. Shara Radin gets the largest applause of all, though, for her clear, powerful execution of the Queen of the Night arias, the one piece of Mozart’s opera that is left untouched by this production. Because after all, even a reimagining of The Magic Flute can’t do without “Der Holle Rache kocht in meinem Herzen.”
Target Margin’s production of Kate Marvin’s The Magic Flute is a highly commendable, deeply enjoyable romp through opera, farce, music, and the joy that can be found in the off-off Broadway theatre community. The show winks to its peers in the Target Margin season and delights the crowd with a jungle dance party, a trip to Disney, a hand ballet, infomercials, genies, and a 12-person light dance. It’s a delightful adventure that invites anyone to join and a truly creative performance that stays accessible to audiences.
Bravo!
(Target Margin’s The Magic Flute plays at The Brick, 575 Metropolitan Avenue in Brookly. Remaining performances are November 13th at 8PM and 14th at 7PM. Tickets are $15 and can be purchased through ovationtix.com. For more show info visit targetmargin.org.)