Ryan McKinny as the Flying Dutchman kneels while Kristopher Irmiter as Daland looks from behind during the opening duet of Richard Wagner's The Flying Dutchman.
A theatrical performance featuring a woman in vintage costume holding a bouquet of flowers, surrounded by actors dressed as historical soldiers and officials, celebrating on stage with confetti and a backdrop resembling a building facade.
A scene from The Flying Dutchman at Des Moines Metro Opera. An auditorium with a circular stage in the center, displaying fiery visuals on the stage and background screens, filled with an audience watching a live performance or presentation.
Children and a woman in a theatrical theater scene dressed as characters from a fairy tale, with forest-like set pieces and blue lighting.
The stage set of a theatrical production depicting a ship with a tall mast and sail, Demitrious Sampson as the Steuermann is standing on the ship's deck holding a rope, with large painted backdrops of rocky cliffs, ocean waves, and a cloudy sky.
Kayla Nanto and Emma Markefka as Hansel and Gretel kneel in colorful costumes working on a gingerbread house set with a pink and purple background.
Julie Adams as Senta stands with red hair tied with a red bow, wearing a gray dress, holding the potrait of the Dutchman, standing in front of a dark background with blue-lit trees.
Julie Adams as Senta kneels on stage with floral wallpaper, two wall sconces, and large window panels in the background, illuminated by stage lighting. The shadow of The Flying Dutchman, Ryan McKinny, covers her completely.
The scene is from a stage play with a dreamy, ethereal setting. There are six women dressed in flowing white or lavender costumes, with some wearing floral crowns, on a set designed to look like the front of a house or mansion with a large door. The
Silhouette Julie Adams as Senta standing on stage with arms outstretched, surrounded by other silhouettes, with bright stage lights behind.

The Flying Dutchman at Des Moines Metro Opera (2025)

“Director Joshua Borths has put his stamp on the staging with great invention. Without spoiling any effect, he staged a pantomime during the overture that cleverly sets up Senta’s obsession with the Dutchman and brilliantly suggests a union of spirits at opera’s end with an assist from the trap door… and on this occasion it was miraculous.

“Other than the rollicking scenes where the chorus can overtake the stage, this is quite a talky piece, with long stretches offering limited opportunities for movement. Mr. Borths has solved that by using the layout of the thrust space to keep characters logically moving about so that they play to all sides of the house… Moreover, his crowd movement was masterfully fluid and created shifting, meaningful stage pictures.”

—James Sohre, Opera Today

“One thinks of Dutchman as grand opera… How would it come across in a 500-seat auditorium? The answer, at least on July 4, was quite impressively indeed… And Joshua Borths’ staging admirably managed logistics as well as character development.”

— Scott Cantrell, Dallas Morning News

“Director Joshua Borths demonstrated keen understanding of Wagner’s symbolic tale. Visual simplicity allowed the emotional undercurrents to percolate. Borths’ decision to show glimpses of Senta’s childhood during the overture was a wise addition. The audience watched Senta’s obsession develop, so when the fated lovers finally met, we understood her motivations. In less capable hands, these characters might come across as one-dimensional, but Borths gave them depth that was refreshing but still true to Wagner’s vision.”

—Meghan Klinkenborg, Little Village