United Kingdom Opera Holland Park 2026 – Johann Strauss II’s Die Fledermaus: Soloists, Chorus of Opera Holland Park, City of London Sinfonia / George Jackson (conductor). Opera Holland Park, London, 29.7.2026. (KMcD)
Liam Steel’s new production of Die Fledermaus promises much but, alas, delivers surprisingly little. While there can be no doubt that Opera Holland Park (OHP) has assembled a strong cast, a combination of sluggish pacing, awkward staging and comedy that rarely lands prevents Johann Strauss II’s evergreen operetta from ever really taking flight.
The problems were apparent from the outset. George Jackson’s account of the overture was surprisingly slow and ponderous, lacking the Viennese lilt that should propel the evening into life. Liam Steel’s decision to accompany it with a dancer, the nimble and able Harry Wilson, dressed as a bat, in a piece of stage business that distracted from rather than complemented the music only compounded the problem.
Steel relocates the action to a 1929 London, with Neil Irish’s elegant split-level design making effective use of OHP’s distinctive stage set up. Jeremy Sams’s witty English translation relies on rapid-fire exchanges, impeccable comic timing and crystal-clear diction. Too often, however, the dialogue simply failed to carry, even in scenes played on the forestage. Too many punchlines disappeared into the wide open space, robbing the comedy of the pace and precision on which it depends.
The staging became more problematic during Prince Orlofsky’s party, largely unfolding on the stage behind the orchestra. OHP’s unique layout inevitably requires directors to make careful decisions about where to place the action, but here the sense of distance proved a hindrance rather than a help. Alison Langer’s poised Rosalinde, singing with musical intelligence and assurance, seemed particularly disadvantaged, her relatively light voice struggling to make the impact it deserved. Equally baffling was the decision to place the interval two-thirds of the way through Act II, bringing the evening’s momentum to an abrupt halt just as it should have been gathering pace.
Fortunately, there was much to admire musically. Julien van Mellaerts gave by far the evening’s most complete performance as Dr Falke. His warm, glowing baritone carried effortlessly throughout the auditorium, his diction was exemplary, and every phrase revealed another facet of the character’s mischievous plotting. Not only was he the one performer whose text consistently registered, he also captured the role’s mischievous charm and quiet authority with complete assurance.
Thomas Atkins took a little while to settle as Eisenstein, but his thrilling tenor rode effortlessly over Strauss’s ensembles and grew in confidence as the evening progressed. Xavier Hetherington impressed with a bright, ringing tenor as Alfred, his affectionate burst of Nessun dorma in the prison scene one of the production’s happier ideas. With sharper direction, he might have made an even stronger comic impression.
Rebecca Bottone brought sparkle and charm to Adele, Clare Presland made an elegant Prince Orlofsky, while Monwabisi Lindi extracted plenty of enjoyment from the brief role of Dr Blind. Matthew Siveter and Olivia Carrell provided dependable support as Frank and Ida respectively.
It was only in the third act that Steel’s production finally relaxed and discovered the comic rhythm that had been missing for much of the evening. Robert Burt’s Frosch, delivered with impeccable timing and a welcome sense of understatement, generated more genuine laughter than almost anything that had preceded it. His performance was a timely reminder that Die Fledermaus needs little more than confidence, pace and trust in the material to succeed.
OHP had assembled a cast more than capable of doing justice to Strauss’s operetta, and there was much pleasure to be found in the singing. Ultimately, though, Liam Steel’s production never trusted the work enough to let its wit emerge naturally. By the time the comedy finally clicked into place, the opportunity had largely slipped away.
Keith McDonnell
Featured Image: Opera Holland Park’s Die Fledermaus © Craig Fuller
Creatives:
Director and Choreographer – Liam Steel
Lighting designer – Jake Wiltshire
Set designer – Neil Irish
Costume designer – Laura Jane Stanfield
Chorus master – Dominic Ellis-Peckham
Cast:
Thomas Atkins – Gabriel Eisenstein
Alison Langer – Rosalinde
Rebecca Bottone – Adele
Clare Presland – Orlofsky
Julien Van Mellaerts – Dr Falke
Monwabisi Lindi – Dr Blind
Xavier Hetherington – Alfred
Matthew Siveter – Frank
Olivia Carrell – Ida
Robert Burt – Frosch
Alistair Sutherland – Ivan
Harry Wilson – Dancer