CWU Music adapts classic opera Die Fledermaus for modern audiences

As a timeless, classical art form, opera has evolved significantly over the centuries while always keeping a respectful eye on its past.

Central Washington University’s upcoming production of Die Fledermaus (commonly known as The Revenge of the Bat in English) fits in well with this time-honored tradition of carrying a classic body of work forward through translation and adaptation for modern audiences.

Based on a 2016 translation of the original text by Sarah Meyers, CWU’s production—scheduled for April 11-14 in McConnell Auditorium—will be performed in English, and will feature a whole host of modern touches intended to help the show resonate with a broader audience.

Gayla Blaisdell, a CWU professor of vocal performance and the director of Die Fledermaus, has been overseeing annual opera productions on the Ellensburg campus for several years, and she always looks forward to introducing a new generation to the classics.

“I really enjoy doing modern versions of classic operas for our students,” she said. “Doing an English translation is really important, especially in a comedy like this, in order for the emotions and jokes of the show to connect with the audience as well as our performers.”

Die Fledermaus was originally penned in 1874 by Viennese composer Johann Strauss II. In the tradition of Viennese operas, the show features waltzes, solos, duets, trios, and choruses that drive the plot forward, accompanied by the CWU Chamber Orchestra. The production differs from the original libretto in that it is set at a modern costume party in Manhattan, with the protagonist dressed as Batman.

“Die Fledermaus was always a rom-com kind of story, with a large cast pulling pranks on each other and scheming their way through a social situation,” Blaisdell said. “It lends itself very well to adaptation using modern terminology, values, and concepts.”

The adaptation reworks plot points and characterizations that might otherwise have felt outdated to modern audiences. For example, CWU’s production gives its female characters more agency, and re-contextualizes a song that came across as derogatory of the Romani culture in the original script. These little changes help keep the spirit of the story accessible—not just to a new audience, but also to a new generation of performers.

Sophie Otness, who portrays Frank, a deputy, in the show and manages the production’s social media, says the changes help her better engage with the character she’s bringing to life on stage.

“Doing the show in English helps us focus on our acting as well as our singing,” she said. “While most of us in vocal performance are comfortable singing in French or German, having it be in my own language helps me make that emotional connection with the script and take it further than just singing.”

Much like Otness, the other members of the cast have also taken on backstage roles in addition to their on-stage performances, giving them a unique opportunity to interact with every aspect of the production. In promoting the show on social media, Otness has focused on giving followers a glimpse into what the show will look like on opening night, and helping them see that opera is far from the inscrutable art form it’s often portrayed as in modern media.

“Marketing for the arts is incredibly important, because art needs to be seen,” Otness said. “People sometimes get turned off by the term ‘opera,’ so it’s my job to make sure they see what a great time the show is, and that it’s really just an older form of musical theater. Word of mouth is so important to this campaign for that reason, too.”