Die Fledermaus

Set in 1912 on Valentine’s Day, my reimagining of Die Fledermaus reframes the operetta through a lens of romantic illusion and playful deception. In Act I, the deception begins with Rosalinda’s lover Alfred, who wears her husband Eisenstein’s dressing gown. This red and gold dressing gown contrasts with both Rosalinda and her maid Adele, who reflect the rich blues of her home. Dr. Falke comes into the home with a walking cane topped with a silver bat, foreshadowing his name “Die Fledermaus”.

As the narrative shifts to Prince Orlofsky’s ball, color and transformation drive the storytelling. Adele is in disguise wearing Rosalinda’s gold gown to construct a new identity, while Rosalinda herself arrives in a striking red dress and bat mask, embodying the new fiery personality of her alter ego “Countess Esterhazy”. Prince Orlofsky and his Major-domo Ivan are both in decorated military dress, matching the black and white color palette of his party guests. Here at the ball, Dr.Falke unfolds his plan to have both Eisenstein and Rosalinda’s infidelity revealed.

In Act III, Dr.Falke reveals his bat costume, explaining that this whole plan was an act of revenge against Eisenstein who left him behind in this bat costume years ago, drunk and alone in the streets. The bat costume is purple and black, demonstrating textures that are reminiscent of bat’s veiny wings. Across the production, costume becomes a vehicle for transformation and mischief, revealing a world where identity is fluid, appearances are deceptive, and revenge unfolds beneath the guise of celebration.