Johann Strauss II's wonderfully convoluted and ingenious Viennese farce Die Fledermaus is a masterpiece of operetta. The tale spins waltz-like around the philandering Von Eisenstein (Thomas Allen), his wife Rosalinde (Pamela Armstrong), who is tempted by singing teacher Alfred (Par Lindskog), and Adele (Lyubov Petrova), Rosalinde's maid. Following Shakespeare's romantic comedy template there is much mistaken identity, confusion of purpose and cross-dressing, with the events unfolding around an increasingly drunken masked ball and the morning after in the local jail. The champagne-fuelled entertainment carries various satiric undertones, but this adaptation by director Stephen Lawless and Daniel Dooner emphasises colour, wit and flamboyance, always ensuring the jokes work well for a modern audience.

The production requires acting as strong as the excellent singing, and Thomas Allen delivers a subtly layered interpretation of Eisenstein, while Pamela Armstrong's Rosalinde offers a winning study in smouldering sensuality, well contrasted with Lyubov Petrova's more directly sexual Adele. The revolving set mirrors the swirling Strauss dances and the elegant design is a perfect match for the boldly extrovert costumes. If this Glyndebourne 2003 production doesn't match Dame Joan Sutherland's retirement performance at the Royal Opera House in 1977 for historic value, it is easily as much fun and the production values are second to none.

On the DVD: Die Fledermaus is presented on a two-disc edition with Acts 1 and 2 on the first disc and Act 3 and 37 minutes of extras on the second DVD. The 16:9 anamorphically enhanced image is as strong and detailed as BBC live digital video recording can be and the sound is offered in excellent stereo, as well as superb 5.1 DTS, which places the listener in the acoustic equivalent of the best seat in the house. The extras begin with 20 minutes of short but worthwhile interviews with Pamela Armstrong, Thomas Allen, Hakan Hagegard, conductor Vladimir Jurowski and director Stephen Lawless. There is a five-minute feature on the history of the waltz and a four-minute humorous interlude in which Udo Samel explores the pleasures of champagne in his character as the gaoler Frosch. More substantial if less entertaining is Return of the Architect (8 min), a look at the design and construction of the modern Glyndebourne opera house. The set is completed with routine photo and costume galleries and a nicely produced booklet illustrated with good quality colour photographs. Optional subtitles are available in Dutch, English, French, German and Spanish. --Gary S Dalkin

A medieval comedy-adventure starring Michael Palin and directed by Terry Gilliam, Jabberwocky is an episodic adaptation of Lewis Carroll's surreal poem. Having previously directed Monty Python and The Holy Grail (1975) with Terry Jones, Jabberwocky marked Gilliam's solo directorial debut--is it coincidental that Jones is killed by the titular monster in the opening scene? Palin plays the naive Dennis Cooper, a man seeking his fortune just as the Jabberwocky is laying waste to the country. It's much the same world as Holy Grail, with all the trappings of the romantic Hollywood epic being liberally coated with literal and metaphorical muck.

Palin's character causes unwitting mayhem wherever he goes--one stand-out scene involves the destruction of a maintenance shop for damaged knights-in-armour--though as much humour comes from exposing the foibles of the people he meets. And those people constitute a roll call of contemporary British comedy: Harry H Corbett as a sex-mad squire, Warren Mitchell's Mr Fishfinger, plus Annette Badland, Max Wall, John Le Mesurier, Rodney Bewes, John Bird, Neil Innes and John Gorman. Jabberwocky lacks the hilarity of Holy Grail, but is a consistently amusing, exceptionally atmospheric, gleefully gory yarn which points the way to Gilliam's Time Bandits (1981) and The Adventures of Baron Munchausen (1988).

On the DVD Jabberwocky is distinguished by an engaging and enthusiastic commentary from Gilliam and Palin, in which they delight in the amazing cast and ponder how such a handsome film was made. Otherwise the extras are a short sketch-to-screen comparison, three posters and three trailers (only one for Jabberwocky). Transferred anamorphically enhanced at 1.77:1, the picture is variable, with many beautifully lit indoor scenes looking fine, while other exterior, daylight shots appear washed out. There is some minor print damage. The sound is a revelation for a low-budget 1970s film originally released in mono. Given a full Dolby Digital 5.1 remix the tremendously detailed, rich and involving soundscape really brings Gilliam's world alive and puts many much more recent and expensive titles to shame. --Gary S Dalkin