A new classic: Goodman’s ‘Matchbox Magic Flute’ an enchanting re-imagining of Mozart’s beloved opera

For her beguiling reimagining of “The Magic Flute,” adapter/director Mary Zimmerman scaled back Wolfgang Amadeus Mozart’s beloved 18th-century singspiel. But she did not skimp.

Zimmerman’s downsized “The Matchbox Magic Flute” features a small ensemble (10 singer/actors and five instrumentalists) whose outsize performances earned enthusiastic applause from Goodman Theatre’s opening-night audience.

In the program notes, Zimmerman describes the jewel box production as a hybrid that brings “the opera form into conversation with the theater.” But opera aficionados needn’t worry, music director Amanda Dehnert and sound designer Andre Pluess’ adaptation and arrangements maintain in miniature the integrity of Mozart’s score.

And, while only one ensemble member lists classical credits (bass-baritone Kenon Kyles, a Chicago Opera Theater and Lyric Opera of Chicago veteran), Zimmerman’s cast includes strong singers, several of whom sound like they’ve received classical training. One of them is Marlene Fernandez, a lovely soprano who plays Pamina, a young woman abducted by Kyles’ Sarastro.

Another is Emily Rohm. Rohm, who mentions classical training on her website, plays Pamina’s mother, the Queen of the Night, whose fiery second act aria is the fiendishly difficult, two-octave spanning “Der Hölle Rache.” (Rohm’s impressive performance stopped the show opening night. Considering she performs eight shows a week — a challenge not many coloraturas would undertake — I imagine more kudos await.)

Back to the plot. Following a forest encounter between her Ladies (Lauren Molina, Tina Munoz Pandya and Monica West) and Prince Tamino (Billy Rude), the Queen enlists him to rescue her daughter and promises him Pamina’s hand in marriage if he succeeds. Accompanied by the lonely, hopelessly inept bird-catcher Papageno (Shawn Pfautsch), Tamino commences his hero’s quest. A Spirit (Reese Parish) guides the duo to Sarastro’s castle, where they encounter the henchman Monostatos (Russell Mernagh), who has designs on Pamina.

Mozart’s fairy tale unfolds against flats depicting a lush forest on set designer Todd Rosenthal’s luxurious, Old World opera house, which features ornate boxes and red velvet curtains, crystal chandeliers and gilded accents.

Ana Kuzmanic’s pretty costumes reflect the day-night divide: sunny hues for Pamina and Tamino, gauzy light green frocks for the Ladies of the forest, a severe black and red gown for the Queen and blood-red breeches for the corrupt Monostatos. The orchestra — conductor Paul Mutzabaugh (piano, guitar), Dalia Chin (flute), Dave Belden (violin), Tahirah Whittington (cello) and Bob Garrett (percussion) — wear fezzes.

Zimmerman’s “Matchbox,” like Mozart’s “Flute,” is a testament to the triumph of reason over irrationality, truth over lies, love over hate. Violence and vengeance are punished; courage, patience and kindness are rewarded. And Zimmerman conveys it all with her signature playfulness, which extends to her adaptation of Emanuel Schikander’s libretto, which she peppers with gently anachronistic references to grocery store checkout lines, Lake Shore Drive, shift workers, The Smithereens and — in a clever bit of word play — paralegals.

Zimmerman’s direction is playful and the comic business and physical shtick (accompanied by a wink to the crowd) certainly entertained the audience. But not all the actors were on the same page. Some performances were overly broad. That said, the inconsistent tone may resolve over the course of the twice-extended run.

But that’s a minor point in this gem of a show.

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“The Matchbox Magic Flute”

3.5 stars

Location: Goodman Theatre, 170 N. Dearborn St., Chicago, (312) 443-3800, goodmantheatre.org

Showtimes: 7:30 p.m. Tuesday, Wednesday and Friday; 2 and 7:30 p.m. Thursday and Saturday; 2 p.m. Sunday through March 24

Tickets: $35-$105

Running time: About 2 hours, including intermission

Parking: Nearby garages, discounted parking with Goodman Theatre validation at the Government Center Self Park at Clark and Lake streets

Rating: For all audiences