The Magic Flute

Uchenna Izundu is enchanted by the South African interpretation of Mozart’s opera, The Magic Flute, at the Young Vic in London, soon transferring to the West End.

The image of opera, usually seen as a tedious pursuit of white privileged classes, is beautifully revamped into a fountain of summer colours, shimmying hips, and hypnotic marimbas for this South African version of Mozart’s The Magic Flute(Impempe Yomlingo) where old is blended seamlessly with new.

The vibrant South African theatre company, Isango/Portobello , is successful in weaving its cultural perspective to refresh the story of a rites of passage, love, and adventure. With 30 performers, the production is set in a township and different South African languages are spoken throughout, including English, but this doesn’t interfere with following Prince Tamino’s quest to rescue Pamina, daughter of the Queen of the Night, from the Priest of the Sun.

The comedic elements are wonderfully delivered by Zamile Gantana who plays Papageno, Tamino’s sidekick in rescuing Pamina. As an added twist, Papageno’s search to also find love is particularly touching. The rites of passage by Tamino are transformed into those rituals for a Xhosa boy. Pauline Malefane plays the chilling Queen of the Night and her Gothic, leather costume and electrified Medusa hair, highlight her dynamic numbers. Simphiwe Mayeki’s priestly leader Sarastro, in his stunning traditional robes, echoes a wise Mandela. The tinkling of a music box is created by tapping water-filled glass bottles infused by a glitter-ball of light.

For choreographer Lungelo Ngamlana , the opera’s success lies in Africanizing Mozart. He spent three months in London on an Africa Beyond International Artist Fellowship funded by the Arts Council, based at the Royal Opera House. “To work with people that have never danced before was challenging – you have to bring that interest to them. I’ve managed to do that – before they were very shy. I’m very pleased with the way the whole story’s been Africanised. We can follow the story as Africans – we can get in touch and pick up the interest in opera.”

Sometimes it is difficult to understand clearly what is being sung in this production as the sound is muffled, which can be frustrating. However, director Mark Dornford-May’s powerful production dispels any notion of relegating black musicians solely to the genres of soul, hip-hop, and jazz which seem to be so prevalent in depicting the black experience.

The Magic Flute is on at the Young Vic until Jan. 19: currently sold out although returns are usually available for cash immediately prior to each performance. For more information call 020 7922 2922 or go to www.youngvic.org . The show transfers to the West End's Duke of York's Theatre (0870 060 6623) for an eight-week run on February 11.

• Duke of York'sTheatre