The Magic Flute – Wilton’s Music Hall

Last Updated on February 20, 2026

An Endearing and Entertaining Magic Flute in the stunning Wilton’s Music Hall

Take one of Mozart’s best-loved operas, The Magic Flute, and transport it to an astonishing Victorian Music Hall, originally built in 1859 with the intention of providing West End glamour, comfort and first-rate entertainment for East End working people. Transfer the storyline to South America, with puppetry, Aztec symbolism and costumes that could have come out of an HG Wells novel. Liberally spice things up with lyrics freely translated from the original German into topical and relevant English. Then add an enthusiastic cast where the Three Ladies double as three boys and then as exotic jungle birds, and finally as a puppet crone Papagena, and you have Charles Court Opera’s Magic Flute.

Simon Bejer originally designed this South American jungle-themed production of The Magic Flute for the Charles Court Opera in a production at King’s Head Theatre in 2017. The adaptation reimagined Mozart’s classic opera within a lush, vibrant jungle, filled with rich colors and exotic textures that brought a fresh, immersive energy to the story. Bejer’s design transports audiences into a world of tropical foliage, evoking the untamed beauty of the Amazon rainforest. This setting emphasises the opera’s mystical and adventurous elements while creating a visually striking contrast between the forces of enlightenment and darkness.

Revival designer Lucy Fowler has recreated that enchanted setting at Wilton’s Music Hall with jungle foliage creeping off-stage around the balconies and pillars of the theatre. It’s a fantastical and evocative interpretation that makes excellent use of this glorious historic venue. Somehow, even the lack of an orchestra doesn’t seem to throttle this production, thanks to David Eaton’s piano accompaniment.

Tamino is played by Latvian-born Martins Smaukstelis as a rather proper and somewhat confused explorer. He wakes, in the jungle, to the adoring Three Ladies (Sarah Prestwidge, Martha Jones and Meriel Cunningham), while Papageno (Matthew Kellett), the hapless bird-catcher for the Queen of the Night, quickly claims to have saved him. The tale starts to move at a pace with the entry of the Queen herself, played by Eleri Gwilym as an Amazonian priestess. She sets Tamino the task of saving her daughter Pamina (Alison Langer), who has been taken prisoner by Sarastro (Peter Lidbetter). Equipped with a magic flute and a music box, Tamino and Papagano depart.

Portraying the Queen of the Night is a formidable task, demanding virtuosic precision and a voice capable of unleashing unbridled fury. Eleri Gwilym rose to the occasion with admirable technical command, navigating the role’s treacherous coloratura passages while delivering a performance of striking theatrical intensity. Her dramatic presence was undeniable—ripping heads and limbs from bird and human puppets with chilling conviction.

While one might have wished for a touch more stridency in her upper register to fully embody the Queen’s seething rage, in the intimate confines of Wilton’s Music Hall, such an approach may have risked overwhelming the space. Nonetheless, Gwilym’s interpretation balanced power and precision, ensuring a portrayal that was both musically assured and visually compelling.

Alison Langer’s Pamina carried a touch of spirited exuberance, evoking a certain “jolly hockey sticks” charm. While her vocal delivery occasionally lacked the full breadth of dynamic contrast, it remained consistently precise. Yet, it was in the Act II Triumphal Duet that she truly shone—her tone crystalline, soaring with remarkable clarity and emotional depth, rendering a moment of genuine poignancy.

Smaukstelis, meanwhile, impressed with impeccable diction and a keen sense of character, a portrayal rich in detail. However, at times, a more lyrical, fluid approach, allowing the vocal line to breathe and unfold with greater warmth, would have been an improvement. Even so, his command of the text and dramatic instincts ensured a compelling and believable presence throughout.

Peter Lidbetter’s convincing Sarastro was wonderfully rich, resonant, and powerful with a sound that effortlessly reaches the lowest notes with clarity and depth. His voice was full-bodied, with a dark, velvety timbre. His servant, the lecherous Monastatos, played by Joe Ashmore, was convincingly evil.

An excellent Papageno can make a Magic Flute, and in Matthew Kellett, we had just that. His lyrical baritone was complemented by an excellent and endearing stage presence and, as with every member of the cast, by clear diction that meant lack of surtitles didn’t matter a jot. Sarah Prestwidge, tripling up to play Papagena, was an excellent counter to her Papageno while the renowned duet was both impeccably executed and thoroughly captivating.

This exemplary pared-back production is creative and enchanting. While the messages of truth and wisdom shine through, it’s in a way that will engage a contemporary audience of opera lovers and newcomers alike.

Having long admired John Savournin’s commanding presence in countless Gilbert & Sullivan productions, it is a delight to witness a fresh dimension to his skill as Artistic Director and CEO of Charles Court Opera. This Magic Flute is a production well worth seeking out—breathing exhilarating new life into a cherished classic with wit, invention, and undeniable theatrical flair.

The Magic Flute
Wilton’s Music Hall,
1 Graces Alley,
London, E1 8JB

Tue 25 Feb – Sat 8 Mar, Various Times

£12.50 – £30 full price | £10 – £27.50 concession

Running time: 2 hours, plus interval

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