The members of the creative team attending were Director Ned Canty, Scenic Designer Allen Moyer; Lighting Designer Duane Schuler, Co-Costume Designer Christianne Myers, and Choreographer Seán Curran.
Charles Ludlam, who directed the1986 Santa Fe Opera Die Fledermaus, was the inspiration for this production. Ned Canty shared this quote from Ludlam: “I would say that my work falls into the classical tradition of comedy. Over the years there have been certain traditional approaches to comedy. As a modern artist, you have to advance the tradition. I want to work within the tradition so that I don’t waste my time trying to establish new conventions. You can be very original within the established convention.” The dialogue in this production was adapted by Charles Ludlam from W.S. Gilbert’s play On Bail for the 1986 production. Watch for hidden Easter Eggs (inside jokes). The heraldry is the Ludlam crest, and the file folders are from the 1986 Ludlam production.
 The first talks the director and scenic designer had focused on the Eisensteins: Who are they? What are they like? Together they decided that Act 1 would have no walls, allowing the audience to see the whole apartment. Several rooms are on stage, the sitting room, bedroom, bathroom, and more. Because of the importance of doors in comedy, the set features doors without walls. Footlights are used to emphasize the comedy, while subtle follow spots keep the singers’ facial expressions visible.
Act I will remind you of Neil Simon while Act III is reminiscent of Monty Python, moving from the realistic to the absurd. Comedic pacing is important to keep the laughter coming throughout the performance. Some jokes that were FIR (funny in the planning room) aren’t as FIT (funny in the theatre) but were retained to keep the performers on t he top of their comedic game.
Act II shows Prince Orlofsky in an exclusive hotel, not his home. We will see the ante room to the party. Up the stairs is a casino-like roulette table. The best rooms are just off-stage. In Act II four dancers provide entertainment for the party. Much of their dancing is “flash and trash,” requiring a delicate balance between the orchestra and the choreography. Frequently, the dancers act as kinetic architecture framing the singers.
 Act III has the jail on stage with the tenor in sight. The bat wallpaper ties the entire production together.
Some of the costumes have been updated from the original design for the Washington National Opera production. For example, Prince Orlofsky is a very bored individual, has seen it all, and wants to be entertained. He enters wearing pajamas. Is Orlofsky actually a man or simply assuming the role of a man for power? Orlofsky is trying on “robes of the world.” Pay attention to the facial hair in this production. It is treated like jewelry, trying it on; taking it off, buying it. In jail they take your wallet, your jewelry, and your mustache.
Die Fledermaus takes place in a single night, “That One Crazy Night” when individuals end up realizing by morning that it’s their comfortable familiar life they really want.
Delight is the key word that this production aims for, leaving you feeling better about the world as you exit the theatre.
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