MOZART MEETS THE FINAL FRONTIER

Pacific Opera Project boldly goes
where singspiel has gone before

Begin with Wolfgang Amadeus Mozart’s 1789 complex and comic singspiel Die Entführung aus dem Serail, aka Abduction from the Seraglio, commissioned by the Habsburg monarch Joseph II, who famously complained to Mozart, “Too many notes.”

Now take Gene Roddenberry’s visionary “Wagon Train to the stars” sci-fi TV series, pitched to Desilu Productions in 1964, approved by studio head Lucille Ball, then developed and sold to NBC, where it debuted on September 8, 1966, as Star Trek. Alas, after 79 episodes, the much-beloved series was cancelled, abruptly curtailing the Enterprise’s “five-year mission” on June 3, 1969, when the NBC network suits famously complained to Fred Freiberger (who had replaced Roddenberry), “Too few viewers.”

Despite the naysayers, Mozart’s masterful blending of Turkish-inspired music with his own melodic flights and comic inventions has made Die Entführung aus dem Serail one of the most beloved jewels of the operatic world.

Meanwhile, the loyal and ever-expanding ranks of “Trekkies” and “Trekkers” have ushered in an additional thirteen television series in the Star Trek franchise, resulting in (to date) 955 episodes across 51 seasons, 13 feature films, and literally hundreds of Star Trek novels beginning in 1968 with Mack Reynolds’ Mission to Horatius.

This brings us to 2015, when Josh Shaw, founder of the Pacific Opera Project, decided these two “flops” belonged together, and suddenly there was The Abduction from the Seraglio à la Star Trek.

Working from the German libretto by Gottlieb Stephanie, Shaw (who also directs) has maintained Mozart’s tale of the swashbuckling Belmonte’s efforts, with the assistance of his loyal servant Pedrillo, to free his beloved Konstanze, and her maid Blonde, from bondage in the Turkish harem of Pasha Selim.

There are, of course, the needed alterations to interject the tale into the 23rd century of the United Federation of Planets.

Our hero is now Captain James Tiberius Belmonte (Brian Cheney), who is aided by the logical, pointy-eared Mister Pedrillo (Robert Norman), as they attempt to rescue Lt. Konstanze (Shawnette Sulker), who sports Uhura’s red mini-skirted uniform of a communications officer, and the scantily clad, green-skinned Blondie (Amy Owens), based on Susan Oliver’s iconic Orion slave girl, from the clutches of Chancellor Selim (Gregg Lawrence) and his ranks of Klingon warriors under the command of the evil Osmin (Andrew Potter), who is a total “petaQ” (pull out your Klingon dictionary for that one).

Shaw manages the fusion of Mozart and Roddenberry with a tongue deftly nestled in his cheek, though his directorial hand is somewhat wobbly, resulting in some of the humor lacking the sharpening called for. Cheney struts the stage and delivers his dialogue with the idiosyncratic style that William Shatner has displayed since he co-starred with Clarabell the Clown as Ranger Bob on The Howdy Doody Show. Cheney’s performance suffers a tad from an abundance of “wink-wink-nudge-nudging” to the audience. Norman has his moment, lamenting in song as the half-human/half-Vulcan Mister Pedrillo whether he’s more than just “a human with weird ears?”

Sulker shows herself an exquisite soprano, while Owens and Potter demonstrate not only the required “pipes” but the comic chops demanded by their roles. Whatever weaknesses the production may have had were dismissed on opening night as Occidental College’s Thorne Hall was packed wall-to-wall by an enthusiastic audience determined to have a good time. Among those in attendance were at least a score of dedicated fans garbed as Starfleet officers, Vulcan diplomats, and, oddly, one rather petite blue witch. (Maybe I missed that episode of Picard, Lower Decks, Deep Space Nine, or whatever.)

Conductor Caleb Glickman guided his 21-piece orchestra with masterful aplomb. The members were all decked out in the Federation’s precarious red shirts, which usually indicated an unpleasant ending for the wearers. Cheney achieved one of his best laughs of the evening when he pointed this out to the audience and quipped, “I guess nobody told them.”

There are in-jokes a-go-go, puns based on the major film titles, and even a guest appearance from the reptilian Gorn (William Grundler). Familiarity with the Star Trek canon, however, is not obligatory, as my lovely wife, Marlene, who doesn’t know a Tribble from a tricorder, was thoroughly delighted by the evening.

Assisting in her delight were the talents of chorus master Désirée La Vertu, Hailey Springer’s costumes, and makeup/hair artist Ashley Hernandez.

The Pacific Opera Project has succeeded here in delivering a production that is “Accessible, Affordable, Entertaining.”

So let us reply to the criticism of Joseph II as did Mozart, “There are just as many notes as there should be.” And to those short-sighted NBC execs back in June of ’69: “Hab SoSlI’ Quch!” (Trust me, you don’t ever want to say this to a Klingon!)

✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦

photos by Nick Rutter for Pacific Opera Project

Abduction from the Seraglio
Pacific Opera Project
Thorne Hall, Occidental College
1600 Campus Road, Los Angeles, CA
ended Feb. 8, 2026 (reviewed February 6, 2026)
for future shows, visit POP

✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦ ✦