Why are operatic revivals so often dicey? This one asks more questions than it answers. First seen in 2003, Tim Supple's production is here "refreshed" - I quote the company's blurb - by a new conductor (Paul McGrath) and movement director (Yuki Ellias). Tim Pye's costumes have also undergone a sea change.

So we are presented with the expected confrontation between Sarastro and the Queen of the Night. Indeed, we can hardly miss it: Sarastro is black, as are his co-leaders, the Queen is a platinum blonde in a white negligee. But Carol-Ann Duffy's flippant translation and chorus costumes updated to modern smart-casual undermine any pretensions to seriousness.

Obviously all ends happily ever after, but most of the cast could do with the services of a diction coach along the way. The shining exception is Roderick Williams, whose yokel Papageno, kitted out in jeans and knitted hat, carries the show. His every word is made to count, he moves with great athleticism (hilariously when his limbs are apparently doing their own thing) and his firm baritone is in gleaming shape.

Ed Lyon sports a decent tenor as Tamino, but remains rooted in rich-kid-on-a-gap-year mode. Noriko Urata's nimble Pamina is a dream soprano, clean, clear, ideally Mozartian - and a heavily-accented speaker. A pity, since her Act Two aria is the show's only genuine heart-stopper.

Despite ungainly gait and make-up that all but eliminates her eyes, Penelope Randall-Davis storms through the Queen of the Night's stratospheric arias without a qualm.

The Three Boys are as assured as one could ever hope, more relaxed, indeed, than the bustling Three Ladies, who overplay like mad. Chester Patton is a striking Sarastro, but his bass emerges unevenly. There are useful contributions from Fflur Wyn's Papagena and Andrew Clarke's Monostatos.

Paul McGrath keeps the orchestra ticking over nicely in something approaching "authentic" style, and the chorus is tightly disciplined. But too much spoken dialogue is sluggishly paced, even tentative, and typifies a show that lacks a sure sense of direction. Further Leeds performances will be on January 25, 27, and February 13 and 15. Box Office 0870 122 4362.