The walk down Degraw St. between 4th and 3rd avenues in Park Slope, Brooklyn seems unassuming and industrial at best. A closer look, however, and one of the ‘garage’ openings leads to a lovely entryway with trees and pavement. Walk through some glass doors and, voila, you are in a contemporary and intimate theatre equipped with a full bar and local art work. This is Littlefield Theatre, the new home of the Brooklyn Repertory Opera.

The first opera in this new space is Johann Strauss’ Die Fledermaus. This infectiously charming German operetta literally translates to ‘The Bat.’ The piece tells the story of Gabriel Eisenstein, basically a hot-head, who sees the other end of Karma as he is ‘paid back’ for a practical joke that he pulled on a friend a few years earlier. Though originally sung in German and set in 1890’s Vienna, the Brooklyn Repertory Opera presents this work in English, with full orchestra, and sets it in modern-day Brooklyn, New York. References to nearby streets, restaurants, and boroughs add a personal touch to the production and make the show a little bit more accessible to the local audience. Opera purists may not agree with some of these choices but the non-opera-going audience can often feel alienated when they see a work such as this. The Brooklyn Repertory Opera’s production is anything but alienating. Opera purists will also be pleased with this production as the level of skill in the performance is quite high.
 

Rosalinde, the wife of Gabriel Eisenstein, seems to be a bit bored with her life lately. When her former lover, Alfred, shows up at the window for a surprise visit, she cannot help but let him in. As this show is double cast, Alfred is played by both David Bell and Alexander Weaver. Both tenors have beautiful voices and interesting portrayals of the role. Mr. Weaver sings beautifully in this role and his ambiguously European, haughty portrayal is particularly funny. Mr. Bell, also very vocally skilled, turns his supporting role in to a particularly memorable one with his hilarious physical comedy and his smart acknowledgments of musical gestures and how they relate to his character.
 

Alfred woos the married Rosalinde, played by sopranos Kathleen Keske and Erin Carr, until the aforementioned ‘hot-head’ husband, Gabriel Eisenstein, comes home ranting and raving about how his incompetent lawyer is responsible for sending him to jail for eight days. The stuttering lawyer, Dr. Blind, is played by Peter Schmitz and David Hicks. Both tenors held their own in this patter role.
 

Eisenstein, after unceremoniously kicking out Dr. Blind, is then visited by close friend, Dr. Falke. Falke convinces Eisenstein not to go right to jail, but first to attend a lavish party hosted by a Russian prince who just ‘happens’ to be in Brooklyn. This is where the two reminisce over a practical joke that Eisenstein played on Falke only a few years ago, in which Falke was forced to do the dreaded Sunday morning ‘walk of shame’ dressed as a bat, after a Saturday night of costumed partying. Eisenstein, in gullible fashion, agrees to attend this party and dresses to the nines for, what he tells wife Rosalinde, is a trip to ‘jail.’ After a hilarious and vocally demanding trio between Rosalinde, Eisenstein, and their maid Adele, all depart and Rosalinde is left alone onstage to rendezvous with her former lover.
 

In true operetta fashion, their rendezvous is interrupted by a note telling Rosaline to wear a mask and attend the very same party disguised as a Hungarian Countess. The confused Rosalinde is then met by Prison Ward Frank who comes to take Eisenstein to prison as he has not shown up for sentencing. Alfred, being in the wrong place at the wrong time, is mistaken for Eisenstein and taken away to jail in a hilarious trio ending the first act. Frank is played by Jay Gould and Ilberto Lagana. Jay Gould has a stunning baritone voice and plays the role with a very pleasing sense of humour and sincerity. Mr. Lagana’s Frank relishes his time in the spotlight and away from jail. He plays this role with hilarious bravado and feigned suaveness coupled with a strong and lush vocal tone.
 

Act two opens to a lovely chorus of singers in modern-day formal dress. It is the Palace of Russian Prince Orlovsky . Though as wealthy as one can be, The prince has an incurable feeling or boredom, and has not laughed in ages. Dr. Falke assures Prince Orlovsky that his practical joke will make him laugh and cure his boredom. Prince Orlovsky is what opera calls a ‘pants role’ or a young man’s role that was written for a woman. The lively portrayals of this role by mezzo-sopranos Tanya Kamens and Monica Akemi Hershenson are a highlight of the production. Ms. Akemi Hershenson has a warm and lush tone and strong delivery. Ms. Kamens has a fun and light portrayal with a Russian accent that is brilliantly funny. Their aria “Chacun a son gout” is a big hit with the audience.
 

Adele, the maid, has a shining moment in act two where she shows up at the ball wearing one of Rosalinde’s gowns and runs in to Eisenstein who immediately recognizes her. When he tries to call her out as a chambermaid he is almost laughed out of the party due to the apparent elegance of the character. Adele sings the famous aria “My dear Marquis.” Soprano Pamela Scanlon is spirited and feisty as Adele. She is perfectly suited for this role both vocally and dramatically. Her fast coloratura sections and high staccati are about as perfect as one can ask for. Soprano Lauren Phillips is flirty and exuberant as Adele. Her voice soars up to the numerous high D’s and has an ease all of the way through the ranges. She is also a sunning vision in a pale pink gown.
 

Adele’s sister Sally is her ticket into the ball. Sally is one of Prince Orlovsky’s dancers. She is shocked to see her sister at such a high-class event given her station as a chambermaid. Sally is played by Monica Niemi and Judith Wernsing. The sisterly exchanges between the Sally and Adele characters are very entertaining.
 

When Rosalinde arrives at the party she sees her husband behaving scandalously with multiple girls. She seeks revenge by stealing his pocket watch, the opulent instrument that Eisenstein is using to woo all of the other girls. Then, to remain incognito, she sings a Hungarian dance song, the Czardas. The Czardas is one of the most famous and most challenging soprano arias in operatic literature. Dramatic Soprano Kathleen Keske approaches this aria, as well as the rest of the role, with complete fearless abandon. Her instrument is truly incredible and very rare. Her portrayal is spirited and appropriately dramatic. Dramatic soprano Erin Carr is charming as Rosalinde. Her voice is a fortress of strength yet she moves through the coloratura sections with complete ease. It is rare that a dramatic soprano has this kind of flexibility. Her portrayal is fun and just a bit mischievous. It is not customary for this role to be played by dramatic sopranos , however, both performers are able to pull it off seamlessly.
 

Dr. Falke has a great moment following the Czardas. He makes a toast at the party and sings his own very lovely aria. It is then that the true talent of these men becomes the most apparent. Francisco Perez-Abreu has a powerful baritone voice and a suave delivery. Charles Karel is a seasoned performer who has been on Broadway, at the Metropolitan Opera, and in Movies. Mr. Karel adds a great deal to this production from his voice that is full and lush, but so incredibly easy, to his intensely sincere portrayal of the character. Dr. Falke is in some ways the ‘villain’ or at least the instigator of this story. It is a testament to both baritones that there is not one moment where the audience strays from ‘his side’ of the argument.
 

Act three lights up on the prison the morning after the party. Frosh, the drunken jailer, expertly played by Don Slovin and Francis Liska, tries to manage the prisoner “Eisenstein”, whom the audiences knows is Alfred, who will not stop singing random tenor arias. Frank, the prison ward, wakes up just when Sally and Adele come visit thinking that this is the Palace of Chevalier Chagrin, the real Eisenstein shows up for his prison term, Dr. Blind shows up to represent the fake Eisenstein, and Rosalinde shows up to try to spring Alfred out of jail. Prince Orlovsky, along with all of the still-drinking-ball-goers arrive just in time to see the final resolution in the jail cell where all secret identities and secret agendas are uncovered and the revenge of ‘the Bat’ is complete.
 

The ‘butt’ of Dr. Falke’s prank is Eisenstein, played by Francis Liska and Shawn Thuris. Mr. Thuris has more of a sarcastic ‘wise guy’ portrayal of Eisenstein. This is very entertaining and gives a different spin to the role. His voice is quite pleasing as he soars up to the high notes with ease. Mr. Liska has all the ease in performance of a seasoned pro. He is fiery and dynamic in his portrayal and has just the same qualities in this voice. He has some brilliant comic moments both as Eisenstein and as Frosh.
 

Directed by Charmaine Chester, this production comes highly recommended due to the level of talent on the stage and off. The talented orchestra is brilliantly conducted by up-and-coming opera conductor Francesco Lecce-Chong and assisted by Jason Wirth. There is even a high-profile special guest in the middle of act two.  You will have to go see the production to find out who it is, but suffice it to say, they needed an act of congress to get her there. 

So, If you want a huge theatre with lavish sets, opulent props, and a full fly system, as Orlovsky says: “Just go to Lincoln Center.” However, if you want to see a fun production, with a full orchestra, a little bit closer to home, and for a whole lot less money, the Brooklyn Repertory Opera’s production of Die Fledermaus is a great afternoon of entertainment.
 

Remaining performances of Die Fledermaus are Saturday, June 26 at 1:30 PM and Sunday, June 27 at 1:30 PM at the Littlefield Theatre, located at 622 Degraw Street Brooklyn, NY 11217, between 4th and 3rd Avenues. General admission tickets are $20 in advance and $25 at the door. Student and senior tickets are $10 in advance and $13 at the door. $5 tickets are available at the door with proof of unemployment. For more information or to purchase tickets please visit www.bropera.org.