Die Fledermaus WNO @The Birmingham Hippodrome

Strauss’ operetta is sourced from, amongst other things, a French farce named La Reveillon and it seems the farcical element was not to be lost in WNO’s performance and comic performances were for the most part successful. Comic highlights included Desmond Barrit’s performance as the drunken prison warden in the final act and the character of Alfred ‘A tenor’; the latter being instrumental in the send-ups of the work of Puccini and Verdi which actually resulted in one longing for these opera greats after three acts of dated and slightly crass operetta.
Bringing traditional art forms into the 21st century can be challenging for producers and with this particular production there was a sense that because Operetta is popular across the globe to a certain audience, little needed to be done to adapt such a performance. Which throws up the debate of whether traditional art and performance should be subject to experimentation or not and arguably this depends on the project. However, innovation lacked and if things were not experimented with as such then art and performance would not have progressed to the diverse existence it full fills today. A target audience should not be taken for granted in a sector that has recently suffered significant financial cuts and subsequently needs to be economical in the quality of its contributions to society.
The performers were of the highest standard as were the design elements, without question. The problem lay in the outdated script, unfunny gags and unsuccessful attempts to acknowledge the context of a present audience. If the performance had remained in the vacuum of its intended setting without attempted outreach (the most embarrassing being the reference to the ‘Go Compare’ adverts) then it may have maintained more artistic dignity and avoided the ineffective slapstick humour and pantomime-esque moments.
Die Fledermaus is a comedy and arguably relies on the institutions and practices of its settings to an extent. However the irrelevance of its context suggests that it is pure entertainment and escapism; something that art is expected to provide-but should it provide solely this? Are there not enough mindless films, broadcasts and literature to fulfil this role? Operetta is a light-hearted mode of performance rooted in a conservative past and the experience was neither entertaining nor inspiring.