‘First performance: Vienna, October 3, 1880’ declares the programme for Opera della Luna’s new production of Johann Strauss’s The Queen’s Lace Handkerchief. ‘First British Performance: Wilton’s Music Hall, London, August 29, 2017’. They’re not joking: this really is the first full UK staging of the Waltz King’s single most successful (in his lifetime, anyway) operetta. It’s a major event, and the director Jeff Clarke duly follows up with one of those quasi-academic articles that you get in programme books at big opera houses explaining how La bohème predicted Mussolini, or whatever. Still kept awake at night by the liberal reform agenda of Crown Prince Rudolf of Austria-Hungary? Well, hold tight, because apparently we’re in for a regular Habsburg-era hot take.
Then the overture plays, an old buffer with Franz Joseph whiskers gets ragged a bit, and three ladies in Victorian ball gowns peer disapprovingly at Wilton’s crumbling plasterwork. ‘Wherever are we?’ asks one. ‘Does it matter?’ shrugs another. Pop: the bubble bursts and we land with a cheerful bump in the world of farcical coincidences, Ruritanian uniforms and marzipan romance known as Viennese operetta. Strauss and his collaborators might have written a show about the (fictional) romantic adventures of Cervantes in 16th-century Portugal in order to cloak a political satire, or they might just have thought the cast would look good in ruffs. By Act Three, when the Prime Minister of Portugal squares off against half of a pantomime cow, it’s clear that we probably shouldn’t over-think it.
So Clarke tips the whole thing into the 19th century, gives it a sprinkling of self-referential gags and sets it spinning along its delightfully daft course. Opera della Luna has a knack for casting singers who know exactly how seriously to take a drama whose sexiest number is a love song to a truffle pie — performed here with languorous sweetness by Emily Kyte in the trouser role of the King.