In the NCPA version of Strauss's comic operetta Die Fledermaus, tenor Warren Mok (right), soprano Yao Hong (middle) and comedian Chen Peisi play the lead roles.  Provided to China Daily

The upcoming performances of the opera Die Fledermaus blends German singing with Chinese dialogue. Chen Nan reports

Stage director Stephen Lawless's 2011 production of Strauss's comic operetta Die Fledermaus is returning to Beijing - this time, with songs in German and dialogue in Chinese. "We went back to the original script this time," says the director, who has been doing Die Fledermaus since 1982. "I believe that the sentimental Viennese music and elegant costumes will transport Chinese audiences to a magical time." He also believes the Viennese-style yet universally appealing black humor will tickle Chinese audiences.

Set in Vienna in the late 19th century - a time of waltzes, wine and women - the operetta is a comedic tale of romantic intrigue and revenge that starts in a bourgeois home and ends in a Vienna prison.

"I was always trying to use the same script, which is full of double meanings - a straight meaning and a dirty meaning. That's very much in keeping with the flavor of the original script," Lawless says.

To bring the operetta closer to Chinese audiences and enable them to better understand it, the director and the National Center for the Performing Arts (NCPA), which co-produced the operetta, use Chinese translations in dialogues.

"It means more immediate interaction with the audiences. And I found that it's no problem for the singers to switch from German to Chinese," Lawless says.

The renowned Chinese tenor Warren Mok and soprano Yao Hong appear in the lead roles and share the stage with some upstart Chinese opera vocalists.

"It's a great thing to work with those young singers," Mok says.

"Almost all of them had studied in European countries, which enabled them to have a good understanding of the opera culture and of Viennese society. It's also a challenge for me to perform in this operetta because I will not only sing in German but also dance and act."

The appearance of comedian Chen Peisi, who plays a central role as a jailor, is also expected to help peak Chinese interest.

"The script is what attracts me the most. I've learned a lot by playing in this operetta," Chen says.

"It's also a challenge to turn the role into myself."

The jailer's role is relatively free, enabling different actors to imprint their personalities on it, he says.

"My advantage is that I know comedy well," he says.

"I have been listening to opera since I was young. If I didn't do film, I would definitely be a great opera singer. I was born a tenor," he jokes.

The NCPA says Chen was the first person who came to mind when it came to casting the role.

The director says he has never worried about Chen's performance.

"He is the best comic actor I've ever seen," Lawless says.

The team also infused Chinese elements into the backdrop's design. Set designer Frank Schlossman creates natural-seeming backdrops for the operetta, including those for Eisensteins' stylish home, Prince Orlofsky's villa and the jail.

"It looks traditional, but it's used in an untraditional way," the director says.