The Magic Flute
About the Production
Set to an invigorating, reimagined score of Mozart’s timeless opera, Stephen Mills’ production of The Magic Flute draws you into a world of suspended reality, featuring visually arresting shadow puppetry, mythical creatures, fantastical costumes, star-crossed lovers, and an enchanted instrument that can change the hearts of men. The ballet explores the story of Prince Tamino and Princess Pamina, who must survive magical ordeals before they can be together. After trials, tribulations and a few romantic complications courtesy of the ever-scheming Queen of the Night, the couple finds their “happily ever after,” and everyone celebrates the triumph of good over evil.
For this full-length dance work, Mills collaborated with Dr. Donald Grantham—composer and music professor at the University of Texas—to transform Mozart’s original, four-hour score into an energetic and well-paced 90-minute production. Grantham’s new score transforms the arias of the original opera, allowing interesting instrumentation and musical accompaniment to do the “singing,” while dancers’ movements bring the score and the story to life.
CHOREOGRAPHY: Stephen Mills | MUSIC: Wolfgang Amadeus Mozart
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Licensing Information
For information about licensing this production, contact us or view the Technical Specifications.
Paul Michael Bloodgood
Creative Brand Producer & Licensing Manager
512-423-4509
paul.bloodgood@balletaustin.org
Bill Sheffield
Production Director
512.476.9151, ext. 113
bill.sheffield@balletaustin.org
Technial Specifications
| The Magic Flute | Minimum Requirements |
|---|---|
| Stage size | 40 X 40 |
| Grid height | 80 feet |
| Wing space | 20 feet per side |
| Upstage area | 20 feet |
| Working linesets | 50 |
| Stage floor | The stage floor must be resilient wood; the floor cannot be concrete or wood directly over concrete; if the surface is concrete, the Presenter must provide a professional dance sub-floor that must cover stage area from wall to wall. The surface must have any traps leveled, holes plugged, and no protruding nails or screws. The stage floor or sub-floor must be covered with a black, Marley-style dance floor. |
| Soft goods provided by house | Full set of black legs and border, gray rp, one full-stage black panel |
| Recorded or live music | Live orchestra only |
| Lighting | The Presenter shall furnish the company a complete inventory of house lighting equipment. The Company shall endeavor to work within the house instrumentation but any necessary rentals shall be at presenter’s cost. There should also be enough cable, side arms, C-clamps and color frames to sufficiently hang the lighting plot. In addition, the Presenter will need to provide two (2) hazers, two (2) dry ice machines, two (2) twin spins, and two (2) GAM effects heads. |
| Audio | One house speaker system–center cluster and/or house left and right speakers; two to four backstage monitor speaker; one announce-quality microphone, separately controlled; one headset communication system, with seven stations and operable headsets; and one paging system to dressing rooms. Orchestra will need additional miking for soloists. |
| Power | Standard |
| Typical set-up schedule | Day 1: Hang electrics and goods; Day 2: Focus/finish set up; Day 3: Cueing/dancers rehearse |
| Personnel | One TD, LD, optional Shadow Puppet instructor |
| Shipping | One semi truck |