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January 2007 Archives

January 12, 2007

The Grapes of Wrath. Ricky Ian Gordon. Michael Korie. Elizabeth Futral.

The Dresser had the good fortune to catch a showcase of songs from The Grapes of Wrath, a new opera based on John Steinbeck's novel by the same name. The opera by composer Ricky Ian Gordon and librettist Michael Korie receives its world premiere by the Minnesota Opera on February 10, 2007. The music and words are accessible and inflected with the regionalism of its Oklahoma setting.


The showcase, which also included a discussion with the creating artists and moderated by Brian Kellow (he writes for Opera News), took place in New York City December 8, 2006 at the Lesbian, Gay, Bisexual and Transgender Community Center. By chance, the Dresser found out about this program through Nancy Rhodes, the artistic director of Encompass New Opera Theatre. Rhodes collaborated with Gordon on Only Heaven, a song cycle based on the poetry of Langston Hughes and then she produced the work through Encompass in 2001.

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The Dresser attended that production and ever since has been a fan of Gordon's music.

In the early 1990s, the Dresser met Michael Korie at the Virginia Center for the Creative Arts where they had the occasion to celebrate Passover together. Korie is best known for his libretto for Harvey Milk, an opera scored by Stewart Wallace and co-commissioned by the San Francisco and Houston Grand opera companies.

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More recently Korie is enjoying a successful collaboration with Doug Wright (book) and Scott Frankel (music) on Grey Gardens, a musical about the eccentric aunt and cousin of Jacqueline Bouvier Kennedy Onassis.

Dale Johnson of the Minnesota Opera asked Gordon to consider writing the music for The Grapes of Wrath. Gordon, who had never read Steinbeck's masterpiece, said he would think it over and took the book on a trip to California. Apparently representatives of the Steinbeck estate had followed Ricky Ian Gordon around for two years to experience his music. When Gordon decided to accept the commission for this large and important work, Eric Simonson of the Utah Opera, a co-commissioning partner, said how about collaborating with a poet. However, Gordon wanted someone who knew theater well and so he asked Michael Korie.

Because the story of Wrath is so sprawling, someone suggested to the two collaborators that the opera be a two-night work. Korie said the novel has a recognizable skeleton and had no desire to write this opera in two parts. "How would we end part I? Leave the family in the desert?" Korie quipped.

What was particularly interesting about the showcase was that soprano Elizabeth Futral participated. Not only is Futral a rising star in the world of opera, but also earlier that day, the Dresser saw her perform in the rehearsal of The First Emperor at the Met. Futral plays the Emperor's daughter. Other guest performers included tenor Theodore Chletsos, baritone Brian Leerhuber, baritone John Michael Moore, mezzo-soprano Mary Phillips, and pianist Tim Long. The Dresser also wants to recognize what an accommodating space was made for this showcase at the LGBT Center. She imagines this grand hall with an operating bar is used for gala parties, but in this case a temporary stage was erected and chair set up in three sides making room for a large audience but also giving a sense of intimacy.

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Upcoming premieres of The Grapes of Wrath include:
Minnesota Opera, February 10-18, 2007
Utah Opera, May 12-20, 2007
Houston Grand Opera, 2008 season
Pittsburgh Opera, 2008 season

January 23, 2007

Into The Woods. Stephen Sondheim. Eric Schaeffer. Hilary Tham.

On January 19, 2007, the Dresser attended a performance of Stephen Sondheim’s fairy-tale-based musical Into the Woods. It is the first offering at the brand new theater complex of Virginia’s Signature Theatre. Signature principals having moved from a cramped, converted garage to a building made to their specifications and with multiple stages were personally greeting the attendees as they arrived. As with any new theater, a learning curve on how to best use an untested facility needs to be mastered. Upon leaving Signature’s new home, the Dresser had these Sondheim lyrics playing through her head:

''You have to grope,
but that's the way you learn to cope.
Into the woods to find there's hope
of getting through the journey.''

WHAT’S SHAKING THE RISERS

From previous Signature productions, the Dresser knew the outstanding talent of many of the performers like Donna Migliaccio (Jack-in-the-Beanstalk’s mother) and was disappointed, particularly by the first act—the long “happily ever after” portion of this musical—because she could not satisfactory hear many of the singers.

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Moreover, that vital energy necessary to put this show across was missing. With some irritation, the Dresser, who was sitting at the top of a riser, kept thinking throughout the first act that the players were losing their energy with all the stampede running from behind stage and that this running was incessantly shaking the risers and therefore agitating audience members, such as the Dresser.

Eric Schaeffer, Signature Theatre’s artistic director and director for this production, wants his performers mic-less and maybe that is not workable. However, something different happened in the short let’s-look-at-the-consequences-of-happily-ever act. The singers had more energy and the Dresser was moved to tears by the losses of the Baker (played by Daniel Cooney), Cinderella (Stephanie Waters), Little Red Riding Hood (Lauren Williams), and Jack-in-the-Beanstalk (Stephen Gregory Smith).

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In a perverse and probably not at all intended manner, even the shaking risers of Act I was put into perspective when the wife of Jack’s giant makes her presence known by her unseen walking across the fairytale kingdom. The whole theater felt her awesome footsteps.

TRANSFORMATIONS

The Dresser loved the performance of Eleasha Gamble as Rapunzel’s witch. Once the Baker and his wife break the spell over the witch by delivering to her Jack’s cow Milky White, Red Riding Hood’s red cape, Cinderella’s high-heeled shoe, and corn silk from Jack and his mother’s garden, Ms. Gamble’s transformation from ugly hag to voluptuous beauty is wondrous.

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Gamble artfully plays both roles equally well. The Dresser also tips her hat to Lauren Williams (Little Red Riding Hood) for the wonderfully quirky character she creates—a little girl who doesn’t let a wolf take her down. However, the Dresser adored the sexy performance of James Moye as the wolf. Moye also does an OK job of portraying Cinderellas's prince but he really stands out as Wolf.

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Jon Kalbfleisch and his orchestra positioned to one side of Rapunzel’s tower chamber executed a sensitive concert that supported the singers without competing for attention. The Dresser feels happy for the musicians that they no longer have to fit into a tiny puzzle of space and be invisible.

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About January 2007

This page contains all entries posted to The Dressing in January 2007. They are listed from oldest to newest.

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