A cheerful challenge by Strauss

A production of Johann Strauss’ “Die Fledermaus” is a prodigious challenge for a university. It requires no less than opulence — with the set, the costumes, the orchestra and the voices. It demands both vocal agility and theatrical skill. It is a feat with which even New York’s Metropolitan Opera struggles from year to year.

But in the University of Maine School of Performing Arts production, which opens tonight and plays again Saturday at the Maine Center for the Arts, there is considerable talent and impressive sparkle among the performers. At last night’s final dress rehearsal, there were insignificant flubs, as might be expected in such a large undertaking. But the only real distraction was the occasional lack of careful enunciation on the part of the actor-singers. Otherwise, the show was truly well-balanced, funny and enjoyable.

Still, it would be advisable to be in the know regarding the plot of this immensely popular piece. It takes place in Vienna, where Frau Rosalinde Eisenstein is beseiged by a former lover. That same night, her husband is scheduled to begin a five-day jail sentence, but actually goes to a ball to molest ballerinas. All the principals, including the Eisensteins’ errant chambermaid, show up at the affair and take on fake identities. It’s the type of drama that pushes actors to their comic best, and this troupe of students and community members handles the task with relative smoothness.

Karen Pendleton, as Rosalinde, and Elena DeSiervo-Simpson, as the maid, have knockout soprano voices that are the joyous treasure of this production. Fran Vogt, as the tenor lover, is a charm of a singer. And Todd Greenquist, as Eisenstein, and Janet Warner-Ashley, as the Russian host for the ball, give fine, distinctive performances. Solid support is also given by Luke S. Hedger, Bruce Mallonee, Barrett Hammond and Monique Giboleau.

The costumes, which were rented for the show, are almost a character unto themselves, so beautiful and colorful are their Victorian ruffles and feathers. Wayne Merritt’s set of rambling staircases and cascading curtains acts as a robust complement.

Music director Lud Hallman has been known to say that there’s nothing more Viennese or more in his blood than this opera. It’s true: His orchestra is a gem, with tempos and phrasing that keep this production waltzing.

Director Tom Mikotowicz doesn’t offer any of his signature zaniness with this one (which, by the way, is in English). He delivers a straightforward and entertaining success, but it’s hard not to wish he had pushed for a bit more cleverness in some scenes. As the debut production for UM’s newly formed School of Performing Arts, “Die Fledermaus” points to a promising future.

“Die Fledermaus” will be performed 8 p.m. Feb. 23 and 24 at the Maine Center for the Arts. For tickets, call 581-1755.