Alfred       Stephen Crook
Adele        Lisa Sadovy
Rosalinda    Mary Lincoln
Eisenstein   David Firth
Falke        Matthew White
Frank        Gerard Casey
Ida          Eliza Lumley
Orlofsky     Simon Butteriss
Nida         Thomasin Tresize
Frosch       Clorinda Garrett-Anderson (Butteriss again)

Director/Translator/Adapter
             Tony Britten
Music director
             Steven Edis

Music Theatre London

Yes, Mummy, I am overdoing it. MTL's Fledermaus would be the high point of
most weeks, but I am out six evenings in a row in order to see it in a week
in which about six festivals and seasons congrue. (I could see Chelsea
Opera's Esclarmonde on Sunday but have had a mysterious attack of
sabbatarianism.) MTL are always good value, of course, and getting better.

This production was short on singing, though the actors got most of the
notes. But the update was spot on, and like their RAF-base Cosi, conveyed
the spirit of the thing far better than "authentic" 1860s Viennese decor.

Die Fledermaus is potentially dangerous stuff, a sort of New Year's Eve's
dream in which the characters all indulge their worst instincts and
contorted aspirations. At the same time, the arbitrary working and abuse of
the law remains in the background even when they come to their senses in
the morning. Austro-Hungarian autocracy isn't what it was, so Tony Britten
extended the role of drink and had Eisenstein due to check in to a drying
out clinic on his boss's orders, with Frank the director of the clinic,
Frosch a sadistic matron and Blind Eisenstein's shrink (done up as Peter
Sellers in What's new, pussycat?). Adultery is allegedly not what it was
either, so the Eisensteins' dangerous liaisons became a whirlwind of
contemporary fetishes, cross-dressing and confused sexuality. The overall
result was something like a good TV comedy concept (Ab Fab with wit, and
interesting roles for men), with the right amount of underlying anxiety and
social comment, and a few moving moments.

The outstanding performance was Simon Butteriss' Orlofsky, real name Harry
Harman ("or should we call you Harriet tonight?"). Orlofsky has produced a
successful show, and everyone attends the first night party dressed as a
film star. Orlofsky comes as Liza Minelli in Cabaret, and Butteriss was
very close indeed. He was also very funny as sadistic Matron Frosch,
bringing out Frank's infantilism and powdering her nose with a big Mac.

Liza Sadovsky as Adele came as Marilyn Munroe (in Rosalinda's wig) and
looked like a drag artist by comparison with Butteriss. This might have
been deliberate -- the spectacle of Liza and Marilyn making out was even
more, er, interesting that you'd expect. Sadovsky had a lot of voice -- I
felt she might be a belter at heart -- and is a great comic actor, though
like most of the cast except Butteriss she couldn't quite sustain the
impersonation.

David Firth was cuddly, and not quite dissolute enough, as Eisenstein, and
Mary Lincoln was elegant and highly strung as Rosalinda (looking like
something out of a Gold Blend commercial, though I think the little black
dress wasn't quite Dior). Eisenstein was sent to the party as Oliver Hardy,
and promised that his other half would arrive. (Homage to The killing of
Sister George, perhaps.) Lincoln was rather too fragile looking as Stan
Laurel ("a young American of Hungarian descent, and a friend of Dorothy"),
though very appealing, and she managed a surprising amount of intensity in
the slow bit before the Csardas.

The music was arranged for a very small ensemble (keyboard, three wind,
cello and bass) who performed con brio.

Highly recommended. Last year's Cosi is available on video.