Four strong offerings from UFOC in 2002

Four must be a charm for the Utah Festival Opera Company.

After hitting their zenith last season with four strong outings — “barber of Seville” being perhaps the most outstanding offering in their two decade history — the UFOC continued their streak with four very likable productions this season. Particularly strong was a charming and happy offering of “Die Fledermaus.”

UFOC opened their season with “The Magic Flute,” the second time the Mozart-penned opera has been presented at the Ellen Eccles Theatre in downtown Logan. This year’s production was noticeably and pointedly presented with a lighter touch that the first time it was produced. The first production — presented about seven years ago — was ominous and, at times, almost dark. This year’s production has much more comic relief, most of it coming in the form of Papageno, the bird hunter, played by Shon Sims. Sims’ portrayal is almost birdlike, itself, with a feather costume and movements reminiscent of a a fowl.

Sasastro, played by Ashley Howard Wilkinson, is also much better this time around, as the former “Flute” production seemed to get bogged down and walk with hobbles when the larger-than-life bass-voiced Sasastro dominated the stage.

Conductor Gerald Steichen, who is fast becoming an audience favorite, kept the music and production moving briskly and energetically. The prelude presented by the UFOC orchestra and conducted by Steichen was outstanding. “Magic Flute” often hinges on the power of the voice of the Queen of the Night. This year’s queen is Anna Vikre and her high soprano trills are exciting. All ensemble numbers are a plus.

The religious overtones are always obvious in “The Magic Flute” and this production allows the battle of good and evil to present itself. There are no numbers that will wring your heart out and keep you awake at nights (the Queen of the Night in the former production did that, however), but the vitality and spirit — and surprising comedy — make “The Magic Flute” very enjoyable and the perfect opening night for this year’s season.

“Die Fledermaus” is painted by the UFOC with broad strokes, played well over the top and at times feels like it could have been produced by Walt Disney or the Marx Brothers. In fact, there are several subtle “tips of the hat” to the Marx Brothers, with lines and movements that come right out of “A Night at the Opera.” There is a seltzer bottle gag.

The opera itself describes itself as “light as a meringue soufflé, with down on top.” Indeed, it is fluffy, but very, very fun. Unlike some past productions that bog down with the stage is full of characters, “Die Fledermaus” never stops, regardless of how jammed the stage might be. There is one scene where 30 actors are all bouncing about, in perfect harmony, and the production never misses a step. It is a credit to Conductor Barbara Day Turner (a UFOC first-timer) and Stage Director Jack Shouse) that the staging never feels slow or forced. Turner’s conducting was top drawer all night long.

Several numbers in “Fledermaus” have two or three characters pouring out their best music at the same time. But in these numbers they never seem to compete, only compliment. In fact, many of the characters are introduced to us with these complimentary duets. Particularly appreciated was Evelyn de la Rosa, as Rosalinda. In both her character as wife Rosalinda and the Hungarian countess. Bart Williams is also an audience favorite, though not for his limited singing voice but for his comedy. Williams, as jailer Frosch, even comes out from behind the closed stage curtain and speaks directly to the audience.

“Die Fledermaus” is a farce of a story, not unlike a Shakespearean “who’s who” comedy or a rollicking British stage play with mistaken identities as the key. The comedy is always present, the end never really in doubt and Strauss’s light opera is so easy to listen to. The UFOC production is strong and the peak of this year’s offerings. If you can only see one, see this one.

“The Desert Song” might be the weak sister of this year’s offering … but not by much. It is a glorious love story with heart-wrenching lamentations and songs of deep love. Again, it is played with just the right light touch — some pratfalls, some lighter moments to keep the summer crowd involved. Mark Womack, as Pierre and the Red Shadow, was asked to carry a great deal of the production, and he handles his burden well. He is an excellent choice with an excellent audience-pleasing voice.

As love interest Margot, Margaret Lloyd made an unimpressive opening night entrance in “Desert Song” but got stronger as the play progressed. The third member of the love triangle, Capt. Paul Fontaine, played by George Dyer, opens weak and, unfortunately, stays weak. He is totally overpowered in any duet or ensemble and never projects the power and awe his character needed.

The second act’s first few moments are a jumble. The scene at Ali’s camp never gets to the audience and Ali Ben Ali never seems to master the diction to bring the audience along. The act almost falls in quicksand but it rescued by a strong and powerful performance by Mark T. Panuccio as Sid El Kar, the Red Shadow’s right-hand man. His lamentation of love as The Red Shadow espouses his love for only one woman — he could have a whole harem, you see — is remarkable and noteworthy, as are all his offerings. We also get a peek into the Red Shadow’s heart with Womack’s excellent presentation.

“The Desert Song” also has comic relief, in the form of American reporter Bennie (John Easterlin) and Susan (Danielle S. Hermon) who get caught up in the whole affair. Easterlin has the audience moaning and smiling all night at his wicked one-liners and his dead-on Brooklyn accent.

“The Sound of Music” is the fourth offering this year, the production designed to get folks into seats for the first time, experiencing the majesty of the opera. I mean, who doesn’t like ” The Sound of Music,” for crying out loud. And this production is very easy to like.

See it just for the production values. There are too-many-to-count scene changes. There are great costumes and lighting. There is a delightful Julie Andre— oops, a delightful Maria, in Leslie Ann Hendricks. And, of course, there is the music, so memorable to all, and being mouthed by nearly every person in the audience. In fact, sniffles can even be heard during some songs … and it is not because of hay fever.

Karen Keltner, conductor, gives us no prelude, but we jump right into the Austrian abbey and the story we all know. When compared to last year’s “South Pacific,” the 2001 effort to fill the seats with first-timers, “The Sound of Music” is much richer and understated. The sets are polite, rather than overwhelming. With “South Pacific,” the eye of the audience did not know where to land, but this production is much easier on the senses, and much easier to like.

Nellie in last year’s “South Pacific,” Hendricks is perfect as the independent yet confused Maria. The audience is thankful when she is able to belt out some Rodgers and Hammerstein songs. Mother Abbess, played by Lisa van der Ploeg, has us in the palm of her hand when exhorts Maria to climb every mountain with her rich voice.

The von Trapp children, as children are want to be, are great, all seven of them. An obvious standout is Johanna McKenzie Miller, as Liesl, the oldest daughter. Miller soars above the other children, almost throttling her rich, wonderful voice so as not to overpower the others. UFOC leadership should find a leading role for Ms. Miller as her initial performance shows that much promise.

The Cache Valley audience loved “The Sound of Music,” as expected. They even clapped for scene changes during the opening night production. If you just want to test the seats in the Ellen Eccles theatre and not sure if this opera stuff is for you, this is the production to see.

Then see the rest, for four is a charm.