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 Martins
Operatic Society in Die Fledermaus by Johann Strauss.
Staged: 7 to
11 March 1972 at the Neptune Theatre Liverpool
 The World of Banking
mergers has seen a busy couple of years, and first Martins Bank is taken into
Barclays, and there is the marriage of the District, National Provincial and
Westminster Banks to create the NatWest.
Before we know it, March 1972 arrives, and brings with it the THIRD performance of renamed
Martins Operatic Society – Johann Strauss’s DIE FLEDERMAUS (the Bat) – since
Martins and barclays were merged. The Society continues its strong record of
staging ambitious amateur operatic performances at Liverpool’s Neptune
Theatre, and why not; at recipients of the coveted Leonard Osborn Trophy FOUR times in the 1960s, and
still with a strong membership of talented cast and crew our players go all
out once more to entertain, impress, and above all participate in the hobby
they love. When it comes to our being able
to review the 1970 to 1980 productions of Martins Operatic Society, we no
longer have Martins Bank Magazine as a source of images and information, as
they ceased publication in the Autumn of 1969. Instead we have the official
programme, which helps us with the storyline, and details of the cast and
crew. In some cases we will be able to include critique from local
newspapers, but in the case of DIE FLEDERMAUS, there is only a one line entry in the Liverpool
Echo giving the date and time for the opening night only! So please enjoy the
convaluted plot synopsis, and then marvel perhaps at the number of those
involved in bringing this production to the public stage for five nights in
March 1972…
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 We are in the Eisensteins’ house, and the
servants are busy with their chores, when from outside is heard the voice
of Alfredo serenading Rosalinda. He is, it appears, an old flame of hers.
Adele, the Eisensteins’ maid is surprised by a visit from her sister Ida,
who tells her that the ballet, of which she is a member, has been invited
‘en bloc’ to a party that night at Prince Orlofsky’s; and if Adele can get
hold of a dress Ida can take her along. Alfredo seeks out Rosalinda to tell
her he has heard that Gabriel, her husband will be away for five days in
prison for assaulting a policeman, and promises to visit her that evening.
Gabriel storms in with his advocate Dr Blind, who has bungled his appeal to
the extent that Gabriel is being sent down for eight days instead of five.
Enter Dr Falke, a friend of Gabriel’s, who has been nursing a grievance
ever since Gabriel left him to find his own way home from a fancy-dress
ball, in broad daylight dressed as a bat; but he has a plan for revenge. He
suggests that Gabriel need not report to prison until the morning, and
should spend his last evening of freedom disguised as a French Marquis at
Prince Orlofsky’s ball. Gabriel out of the room, Falke also invites
Rosalinda to attend suitably masked and disguised as an Hungarian Countess.
Gabriel reappears dressed-up to the nines, and after a sad farewell goes
‘off to gaol’. Rosalinda, expecting Alfredo at any moment gives the
delighted Adele the evening off. Alfredo appears on the balcony and quickly
makes himself at home; wearing Gabriel’s dressing gown and drinking his
wine he and Rosalinda are interrupted by Frank, the new prison governor.
The situation looks compromising, but Alfredo, after some persuasion claims
to be Gabriel and is escorted off to gaol. The party at Prince Orlofsky’s
is in full swing, and the Prince who is usually bored is eagerly looking
forward to the entertainment Dr Falke has promised. Gabriel arrives
disguised as the Marquis de Renard, and immediately recognises Adele in one
of Rosalinda’s dresses, but the guests find his accusation amusing and
Adele sings the famous ‘Laughing Song’. Gabriel, confused escorts Adele
into the garden. Rosalinda then arrives, heavily disguised and Falke draws
her attention to Gabriel’s behaviour. Also, at the ball is Frank the prison
governor, masquerading as a French nobleman. The guests retire leaving
Gabriel and Rosalinda alone. Gabriel unaware that it is his wife proceeds
to woo the mysterious Countess, but ends up losing his watch. The clock
strikes six, and Gabriel and Frank, who are now firm friends though totally
unaware of each other’s true identity, stagger off drunkenly into the dawn.
The final act is set in the prison, where the gaolers have taken advantage
of Frank’s absence and are all thoroughly merry. Frank arrives and is told
by Frosch the gaoler that the prisoner Eisenstein is demanding to see his
lawyer. They are interrupted by Adele and Ida, who having followed Frank
now solicit his support to help Adele to become an actress. Another ring at
the door and the Marquis de Renard is admitted. Frank and Gabriel are
astonished to discover each other’s true identity, but Gabriel is more
astonished to find he is already, supposedly in gaol. Rosalinda now arrives
and the situation looks distinctly uncomfortable, but with a neat twist
everything turns out happily, and Rosalinda sings the only possible moral:
‘let all join with me in praising the sovereign reconciling power of King
Champagne’.
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Unlike
many of Martins Operatic Society’s previous productions, DIE FLEDERMAUS does not demand a
large cast of characters. There are however TWENTY-ONE songs to be learned,
and those members of the Society required to work behind the scenes or play
in the orchestra outnumber the singing performers by more than four to
one! In Strauss’s DIE FLEDERMAUS, it
can also be noted that the character and place names are a little more
“down to earth” than some of the curious or downright preposterous names
given to people, towns and countries in productions written by Gilbert and
Sullivan…
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With special thanks to Mike Ellis and the late, great Beryl Creer.
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 M
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