What: Johann Strauss II’s Die Fledermaus– presented by Opera UCT
When: October 23–26, 2025 (four performances)
Where: Baxter Theatre, Cape Town Gala Night: Saturday October 25
Performance times:  Oct 23 and 24 at7pm; Oct 25 at 5pm and Oct 26 at 3pm
Tickets: R100-R500. Under 18s may attend at no cost – see Webtickets for info
Director: Christine Crouse
Conductor: Jeremy Silver
Set design: Allegra Bernacchioni
Costume design: Gavin Rajah  

Multi-award winning Alan Committie is playing the jailer, Frosch in Die Fledermaus, presented by Opera UCT, at the Baxter, October 23–26, 2025 (four performances). This is the 2nd time in his multi-pronged career (theatre, comic, director, producer) that Committie is taking on the role, an absurdist comic, non-singing role. Committie will be channelling aspects of his persona into the performance, as “the written character Frosch” but with “Alan’s persona peeking through intermittently.” Hhmm. He will not reveal how Frosch will dressed by designer Gavin Rajah. It is a surprise. He does say that no flip charts have been used in this performance:

TheCapeRobyn: This is the 2nd time that you are performing Frosch the drunken jailer. When and where was the first?

Alan Committie: I played Frosch, 20 years ago for an Artscape production directed by Janice Honeyman. I played Frosch for three or four of the performances in the run – I think there were other guest performers too and I played him as my Afrikaans security guard Johann van der Walt. Prof Angelo Gobbato was my boss – Frank, the prison warden.


TCR: This time round? How are you playing Frosch? As written or what?

AC: As the written character Frosch-  with Alan’s persona peeking through intermittently. 

TCR: The ball scene is set in a jazz club in Cape Town. And the jail scenes? Pollsmoor? Can you tell us about your Frosch in the jail? Does he use a flip chart to try and retain order?

AC: Our jail is non-specific but definitely set in Cape Town. It’s Pollsmore-or-less if you receive my meaning. Frosch has recently been assigned to be a jailer at this particular prison and is trying to fit in. He is a man who loves to share every moment of his day with a bottle of something -to keep his “spirits” up, so to speak- and somehow is able to perform his duties even though he is constantly and consistently sozzled. He doesn’t care much for singing, or singers or even prisoners but then what can you do? A job is a job. No flipcharts were used in the making of this performance…

TCR: What does Frosch wear? Has Gavin Rajah designed your costume or is it off the shelf from P n’ Pay markdown section? Pick n Pay is a sponsor.

AC: My costume remains a surprise to be uncovered. Gavin Rajah is keeping everything very close to his designer chest. Will I even be wearing a costume? I might be the first nude jailer in the history of this opera. If I am naked, where would I hang my keys?

TCR: The famous Frosch monologue in Act II has been re-worked in some productions – reflecting a context – so Cape Town – in this instance – and current events – the world. Has this been done with this production? Were you involved with shaping this monologue?

AC: We have used a particular translation of the German script as a foundation for the scenes and tried to let Frosch have some leeway with his wordplay, observations and interactions with other characters. I have shaped the text along with Christine Crouse and tried to get as many little fun moments into the three or four short scenes that Frosch appears in.

TCR: In the original libretto, there were jibes about opera being boring – and who would want to attend. Has that been retained?

AC: Frosch is definitely aware that there is an audience watching and talks briefly about singers and opera but there is also plot information that needs to be conveyed so we have tried to find the balance of the comic (outsider) and the character (insider) in keeping the story moving along at a lick.


TCR: Can you talk about performing in opera?

AC: It’s always a delight to play in a different genre. I am lucky enough to have done stand-up comedy, straight dramas, guest appearances in ballet, contemporary dance programmes, played the leads in musicals and spoken Shakespeare on an outdoor stage. Each of these offer unique and interesting challenges and rewards. And working with talented opera students is another delight. Wherever I can share some of my experience and knowledge of playing comic beats or interpreting comedy characters, I have. This is a brilliant introduction to the skills and talents of these young artists, a reminder of why this opera is so loved and we are hoping that a younger audience will find the music, staging and performances to be an inspiring entry to the evocative world of opera.