The third time really can be the charm.
After two efforts hindered by casting and/or directorial inconsistencies, the Baltimore Opera Company has come up with a fresh, winning spin on Johann Strauss' Die Fledermaus. Imaginatively conceived, costumed and directed by John Lehmeyer and housed in Gary Eckhart's pleasant sets, this new production wastes no time going for the slapstick. With a game cast and stylish conductor, the musical rewards come just as quickly.
The mood here is determinedly light and rollicking, fueled by the vintage translation by Howard Dietz and Garson Kanin of the original German libretto. I wish this text had been tweaked a little in the finale, however. In this version, we are essentially asked to discount the whole story since it's just a silly old operetta anyway. Strauss' delirious salute to "King Champagne" is seriously diluted.
On the other hand, the staging gains immeasurably from tossing out the tired, traditional business of the drunken jailer at the start of the last act. The streamlined action here results in a tighter flow and fewer forced laughs. The jailer is still in the picture, though not the worse for drink. And he quickly gets upstaged by one of Lehmeyer's more fanciful inventions - a pink elephant. Ever so slightly over the top, but Wednesday night's crowd at the Lyric loved it.
Lehmeyer also goes heavily for novelty in the Act 2 ball scene at Orlofsky's palace, turning it into the 1,002nd Arabian night. It's an excuse for yards and yards of colorful fabrics, exotic dancers and even an opium pipe. Oh, yes, and a Lawrence Welk bubble machine, a disco ball, a snippet from Tchaikovsky's Swan Lake and lots of flesh. Don't ask questions. Just go with the flow.
That flow is maintained with many an elegant bend in the rhythm by conductor William Boggs. Although a little short on applying dynamic contrasts (the gentle Act 2 waltz, here called "Happy Days," should be much softer), he generates a great deal of Viennese lilt and sparkle.
Susan Patterson brings a bright, solid voice and abundant nuance to the music of Rosalinda, the wife who gets the better of her roving-eyed husband. The soprano gives a fab account of the brilliant Czardas aria and provides a gleaming focal point in ensemble numbers. Her acting, too, is thoroughly engaging. David Malis, as offending husband Eisenstein, scores points with a nice-sized baritone and an easy physical presence.
Gran Wilson swirls and leaps around the stage with Jim Carrey-like elasticity as Alfred, the opera tenor trying to rekindle an old affair with Rosalinda. It's a manic, amusing performance, spiced with countless, lustily delivered snippets from opera's greatest hits. Vladimir Glushchak's attractive, if somewhat veiled, baritone and pleasant demeanor fill out the role of Falke, whose determination to pay Eisenstein back for a stinging practical joke sets the operetta in motion.
Jane Giering-De Haan does generally polished work as Adele, the maid looking to improve her prospects. Theodora Hanslowe has fun with the part of the laugh-starved Orlofsky. (On Wednesday, the audience was informed that she would perform despite an indisposition, but she had little to apologize for vocally.)
Kevin Glavin's beefy bass and imaginative phrasing is a boon as Frank. Seemingly inspired by Martha Raye, Heather Lockard roars through the role of Ida. Patrick Toomey is the effective Blind, Harry Turner the likable jailer. The chorus sounds firm and spirited.
On Wednesday, the orchestra made a mess in the overture but gradually settled into a smooth groove that should hold through the remaining two performances.
Amplification is used, more or less tolerably, to help with the spoken dialogue. And, although diction is quite decent, surtitles are employed, too. Still, I would imagine folks could discern on their own when the characters are singing "Ha, Ha" or "La, la," without having even that spelled out for them.
Fledermaus
Where: The Lyric, 110 W. Mount Royal Ave.
When: 8:15 tonight, 3 p.m. Sunday
Tickets: $37 to $132
Call: 410-727-6000