REVIEW: Hardly a flaw in strong UFOC season
“The Barber of Seville” is a grand example of grand opera, full of farce and familiar strains and music with characters that are easy to like and appreciate.
And it is a work that the Utah Festival Opera Company has done before, the last production being in 2001, causing some who had seen it at the Ellen Eccles Theatre before to compare the two productions.
The prelude to the opening matinee of “Barber” was smooth and flowing, which may have been some indication of how the two productions might compare. The opening scene on a street by Dr. Bartolo’s house, where Count Almaviva (Jordan Bluth) begins his courting of Rosina, is a beat slow and mediocre, though smooth and flowing.
Soon, though, it picks up as Figaro (Kyle Pfortmiller), barber and general busy-body, makes his appearance. Pfortmiller really is the star and salvation of the this production. He never strains of voice, fills the theater with ease, and lets his face tell half the story. He obviously enjoys the role.
Figaro is enjoined by the count to help him win over a ward of the much-older Dr. Bartolo (Stephanos Tsirakogulou). As operas would have it, Count Almaviva has seen Rosina (Millinee Bannister) once from afar and now can think of nothing else.
Assisting the doctor, though, is Don Basilio, a conniving music teacher who plans to destroy the reputation of the new visitor. Basilio (played by Kevin Nakatani) has a highlight with his solo that describes the power of gossip. The scene also displayed a wonderful bass voice from Nakatani.
But as intermission draws near, most of the first act is more flowing than fun, more plodding than other productions of “Barber” have been. The comedic possibilities were downplayed in this version, or if not downplayed, certainly not pushed over the top, like warm memories suggest from the former production. Is that a good thing or a bad thing? Though credible and very easy to listen to, at intermission “Barber” felt a bit lackluster.
But the second act lightened up and felt like it went much faster with more fun — wigs are lost, new identities are undertaken, love is attempted. A scene, for example, when Tsirakogulou forces his character to sing badly during one of Rosini’s music lessons, is very likeable. Understand, though, that is was a major put on, because Tsirakogulou is one several strong voices on the day, led by Pfortmiller. Bluth seemed to lose strength and volume on some higher ranges of notes, but only nit-picking would fault any of the music heard.
At it’s heart, “Barber” is a farce surrounded by grand music and will be a pleasure to view in any decade when as well-done as is this UFOC opener.
Grade: B.
To use some in-vogue buzz words from current popular culture, “Guys and Dolls,” as produced by the UFOC cast, is “very accessible” and is certainly “audience-friendly.”
It might even be considered “green,” as it uses actors recycled from other productions and many even play multiple characters within the show.
But for sure it should be considered “must-see.”
The orchestra pops into full-throttle action at the show’s beginning and an abstract-esque, gritty set design by Robert Little provides the perfect functionally open and eye-candy backdrop.
All men’s ensembles had wonderful harmony and togetherness, beginning with Benny Southstreet (Jordan Bluth), Rusy Charlie (Stefan Espinosa) and Nicley-Nicely Johnson (played by long-time Logan favorite W. Lee Daily) who open the show with “Can Do.”
Soon we are introduced to Nathan Detroit (Kyle Pfortmiller), a street character who has been running a “permanent floating crap game” and extending his 14-year engagement to doll Adelaide (Carianne Wrona) at the same time. He has the double problem of hiding the game from both the police and his fiance. Sky Masterson (Mark Womack) is also a king of the streets, famous for making bets and never losing.
A bet between the two is made that involves Sara Brown (Vanessa Ballam), who assists at the Save-a-Soul Mission just off Broadway. She is assisted at the home for repenters by Arvide (Michael Ballam, UFOC founding director and her father) and UFOC veteran Vanessa Schukis, who plays Gen. Cartwright at the Salvation Army-like rescue center. Sky bets Detroit that he can persuade conservative Sister Sara to take a trip to Havana with him, an unlikely prospect at best.
Well, without giving away too much, the Havana scenes in this production are some of the best of the night. The fight scene, the dance numbers and Sara’s warming toward Sky are all fun and well-done.
Womack was a perfect cast for Matterson, with his piercing eyes, solid jaw, and jaw-dropping bass voice. Every time he opens his mouth — especially for the well-known “Luck Be a Lady Tonight” and the somber-toned “My Time of Day” — Womack wins over the audience. All of the dancers and dance numbers are eye-catching and perfectly performed.
While Masterson keeps tabs on a possible blossoming love affair with Sara, Detroit, meanwhile, is wrestling with his obligations toward Adeline. The interaction between these two, in fact, is woven throughout the production. Wrona wins fans as she laments throughout the show about how stress over not being married can “cause a cold,” or worse. She has a nice mixture of top-notch singing voice and just-enough-nasal Bronx accent.
Daily also provides both glue and texture to the story as Nicely-Nicely. His “Sit Down, You’re Rockin’ the Boat” near the production’s end is revival-like and a highlight for the audience.
“Guys and Dolls” proved to be a winning celebration of Frank Loesser’s 100th birthday, Loesser composing “Guys and Dolls” for Broadway, among his 700-plus songs.
Grade: A-
If there such a thing as a sure bet (see the plot of “Guys and Dolls” for more about sure bets) it is that “The Sound of Music” would be a rousing success when played on a Logan stage.
In fact, a recent survey showed that the average home in Cache Valley has 5.2 children and also has 2.7 copies of “The Sound of Music” in the household. Not really, but the timeless message of the musical resounds loudly here among high mountain valleys and G-rated entertainment choices.
And that’s before you throw in a local favorite to play the lead.
“The Sound of Music” has also played on the Eccles stage in recent memory in a UFOC production, but somehow this version feels better and bouncier than the one staged several years ago. The set (designer Christopher McCollum) felt lighter and simpler this time, as did lighting of that set and the attitude of the players.
The production starts out on a strong note, with “How Do You Solve a Problem Like Maria?” sung by a cadre of nuns from the abbey. Whenever this chorus of nuns sang, it was show-stoppage time, with perfect harmonies and strong ensemble sets. Standing out and being heard above all the nuns, though,was Michelle Trovato as Mother Abbess, who was stunning and inspiring with her “Climb Every Mountain” to close Act I.
All actors and singers in the production were very careful and precise with their diction and were always heard by audience members. The actors playing the Von Trapp children were a bit stiff and unpolished — understandable, of course — at the beginning of the musical, but got stronger as it progressed, which will likely be true of the musical’s run this season.
Vanessa Ballam was born to play Maria, with a constant smile on her face and an easy-to-like soprano. Only the occasional low note gave her any trouble in the score, a fact that was made fun of during one number with the children.
Mark Womack, in his second strong performance this season, is likewise a perfect choice for Capt. Von Trapp. Womack’s voice is as strong as his Navy captain chin and his resolve to stay Austrian, even though WW II and a Nazi invasion looms. After hearing him sing “The Sound of Music” with his children early in Act I, audience members began dabbing at their eyes, and also began hoping that he would have additional numbers.
Luckily, he did, including the memorable “Edelweiss,” which Womack knocked out the festival auditorium. Womack’s dymanics were perfect, his voice being just soft enough when needed to touch hearts and loud enough for perfect impact.
The auditorium in Vienna, you remember, is where Von Trapp and his family were invited to sing during a music festival to honor Austria. That festival, by the way, was arranged by Max Detweiler, played delightfully by W. Lee Daily, who continued to be an audience favorite.
Sniffles could be heard in many of the familiar songs and many audience members were teens and pre-teens, assuring that “The Sound of Music” will be a success next time it plays at the UFOC, as well.
Grade B+
“La Traviata” is described as a romantic tragedy and it proves to be a rich, layered production that patrons will be hard-pressed to keep their ears and eyes off of.
While waiting for the “other shoe to fall,” so to speak, in this tragedy, opera goers are lucky to participate in some remarkable individual performances.
“L Traviata” (translated literally as “the woman who lost her path”) is grand, big-scale opera. There enough different costumes involved to be a costume maker’s dream — or nightmare, perhaps The sets are numerous, as well as being rich and thick with atmosphere. Many scenes are overflowing with actors; more than 44 — yes, I counted — in one scene during Act II. Many sets get “oohs” and “aahs” from the audience when they are unveiled.
The changing scenes are often a study in contrasts, going from solos or duets with only one or two actors on stage to a full, lively stage just a moment and scene change later. Great ensemble singing is also a strength — but only one — of the UFOC production.
In true Karen Keltner fashion, the first number — a loud and familiar drinking song, for lack of a better explanation — is a rousing first number. And from that moment until the final shoe does indeed drop, all actors play it full out. There is no one walking through this production.
Eric Margiore, a newcomer to the UFOC, has movie-star good looks and a full baritone to intone the role of Alfredo Germont. Bass Charles Taylor takes on the role of Alfredo’s father Giorgio with depth of feeling and voice.
They provide the perfect bookends to Jennifer Welch-Babidge, who plays the flawed Violetta Valery, around whom the story revolves. After a very credible and memorable performance in “Rigoletto” a couple of seasons ago, Welch-Babidge again is a highlight of this production with her passion and dynamic-saturated technique. The audience cannot take their eyes and ears off of the soprano, whose strength and range are unmatched among this season’s many performers.
When the expected shoe does indeed drop, it turns out to only be a cue for the audience to begin their ovations.
Grade: A.