REVIEW: Four strong, ambitious offerings from UFOC
A visiting professional to the Utah Festival Opera Company was recently heard to say that to open four operas in one week was a stunningly ambitious project – for any opera company let alone a company on the smallish-size, like UFOC.
Well, overly ambitious or not, the 2001 UFOC season opened on a rather strong note last Wednesday, as “The Barber of Seville,” “Susannah,” “The Naughty Merrietta” and “South Pacific” took their turns on stage of the Ellen Eccles Theatre in downtown Logan.
Gioacchino Rossini’s “Il Barbiere di Siviglia” opened first and ended up being the strong card of the four openers. The delightful production matches – and perhaps exceeds – the wonderful production of “Don Pasquale”, also by Rossini, from several seasons ago, and rises to exceed the memories of “Mikado,” “Magic Flute” and other extra-good past offerings.
Conductor Gerald Steichen must have decided to capture the audience’s heart and attention immediately – get everyone’s attention as quickly as he could – because the extended introductory/prelude piece presented by the UFOC almost garnered a standing ovation … before the curtain was even raised. The music continued to be the strength of the evening. The power and grace and flow of the orchestra was a constant strong underpinning of the production. Steichen never herded or pushed the composer’s work, just perfectly led it in a way that let the audience know they were involved in something special.
Shon Sims, a baritone in his first UFOC season, warms quickly to the title role. Once the characters begin to play off of each other, Sims appears to have more fun than usual with his role of Figaro. With David Gustafson (seen last season in “Julius Ceasar” and playing the role of Count Almaviva), Ding Gao (who plays a music teacher involved with Almaviva’s heartthrob Rosina), and Ryan Allen (Bartolo, Rosina’s guardian) particularly, Sims almost appears to be ad-libbing, though the precision denies that possibility. The comedic timing and staging are excellent.
The ensemble is strong and active. Sometimes the sheer number of bodies on stage can tend to slow down a production (“Girl of the Golden West” come to mind), but though the stage may have been packed, it never bogged down. Carla Lopez-Speziale is a perfect Rosina, the object of Count Almaviva’s – and Doctor Bartolo, as it turns out – desire. Lopez-Speziale, a young Mexican mezzo-soprano, shows just enough tease and plenty of talent to deserve being the center of attention.
The set, purchased from the Madison Opera and refurbished by UFOC technician Dennis Hasson, was also a center of attention. It drew “ooohs” and “aaahs” from the opening night audience when it came into view.
As long as the cast continues to mix humor delicately and not overwhelmingly, letting the music carry the day, “The Barber of Seville” will be a strong flagship to carry this season’s offerings.
“South Pacific” which ended – perhaps anchored would be the better term -the opening week, was also a winner. The Rodgers and Hammerstein favorite might even be called an easy winner. The UFOC, and audience, can’t miss with this one. With slides of World War II couples and soldiers being flashed while the introductory medley is presented by the orchestra, the audience standing to sing a rousing “Star Spangled Banner,” the recognizable and ever-pleasant “Some Enchanted Evening sung at least a dozen times, well, it can’t miss. And the opening night audience loved it.
But for good reason. There was a lot to like.
First of all, there’s Bojan Knezevic, a Serbian baritone who plays the French planter Emile de Becque. Knezevic has a voice as big as all outdoors, or at least big enough to fill the bay at Bali Hai. His first solo (Yes, “Some Enchanted Evening”) drills the audience to their seat, including those in the back row. His timidity is perfectly done as he struggles to reveal himself to nurse Nellie Forbush, played by Leslie Ann Hendricks.
Hendricks is more like the girl next door than the girl next door. She could be your favorite cousin, with an extra ton of talent on top. She was the perfect choice and voice for Nurse Forbush.
The technical aspects of “South Pacific” are outstanding, in fact, maybe a bit so. The lighting was superb. But the backdrops and set, backdrops rented from Pioneer Memorial Theater and individual set pieces designed and built in-house for UFOC, almost overwhelm. The background of the production, in fact at times becomes the focus; the medium becomes the message and bits and pieces of the Rodgers and Hammerstein “story” are slipped into second place; nuances of the story line, such as overcoming racism, are totally lost in the spectacle. The orchestra is also too loud at times, and drowns over the principals.
But these are minor barbs, as “South Pacific” is a sure winner. It can’t miss.
Rivaling “The Barber of Seville” for a delightful evening is “Naughty Marietta.” from the pen of Victor Herbert. “Marietta” introduces the audience to Danielle Strauss, gives Gerald Steichen the conductor’s baton a second time, and shows great wisdom in letting Curt Olds have as much stage time as possible.
“Naughty Marietta” takes place in 18th century New Orleans, where French women are shipped to marry the locals by the King of France, some with a dowry tucked away in a chest, often imagined to be a fortune by the rough locals. This is also a time of political turmoil and the son of the lieutenant governor – a pirate, in actuality – has kidnapped the governor and has designs on the control of Louisiana.
Stir in a stowaway on a ship from France, the beautiful Contessa d’Altena, who is abandoning an arranged marriage made by her rich father, and all the pieces fall together for a Shakespeare-like comedic adventure. Girls dressed as boys, lovers who tease too much before expressing their true feelings and the ever-present desire for a happy ending make “Marietta” a pleasant fanciful romp.
Strauss is a delight in the lead role, feeling very much at ease in the limelight. Marietta is played with spunk and spark, with lots of zest and delightfully easy soprano voice to listen to. She always had a big grin and obviously enjoyed herself.
Matthew Walley plays the role of Captain Dick, leader of a frontier militia, hot on the trail of the dreaded pirate Bras Pique. His solos are strong and his sensitivity to the emotions surrounding Captain Dick make him an immediate audience favorite. His cohorts provide a very strong chorus – ensemble numbers fill the theatre with strong tenor, bass and baritone.
Curt Olds, who took “The Mikado” to heights last year, again threatens to steal the show as Silas Slick, Capt. Dick’s right-hand man. Slick gets too close to the Lt. Governor and actually gets named “official Whipping Boy” to the politician. He also gets too close to a prospective bride shipped from France, one with apparently more money that good looks. With exaggerated motions and over-the-top expressions, Olds gives “Marietta” a burst of energy. Olds provides a similar service in “South Pacific,” playing Luther Bills, the laundry chief who is always looking for a fast buck but has a heart of gold.
UFOC programmers would do well to always look for ways to keep Olds on stage.
Likewise for Danielle Hermon, who plays Lisette, the overlooked mistress who has sailed to American for marriage. With an expressive face and free-wheeling reactions Hermon becomes an audience favorite.
“Susannah” is the perplexing offering, probably because it is the only production that doesn’t go dancing off into the sunset. “Susannah” examines the human heart and provides pathos and pain. And it does it fairly well.
A simple stage, with more reliance on lighting, puts the audience in New Hope Valley, Tennessee, a simple town with simple folks that simply love to gossip about young Susannah Polk. Susannah is always conspicuous by her beauty and her abilities to draw the eye of menfolk. Susannah’s brother Sam is also a
lways on the tongue of the town gossips due to his love of moonshine, which he has taken to since the death of the Polk parents.
Enter Olin Blitch, new preacher in town, who loves to call folks to repentance and baptize them in the river, er, ah, creek.
After the stage is set and characters drawn, we find Susannah bathing in the creek near her home, which she has done all spring, mind you, but this time some elders of the church linger a little longer in spying on her and begin rumors about her behavior, ignoring their own lusts and faults. The gossipmongers stir up more trouble for our heroine, forcing a friend of Susannah to say, erroneously, that Susannah has seduced him in the past.
With the town whipped into a frenzy, the new preacher tries to get Susannah to confess her sins in a public meeting, something she has a hard time understanding, since she hasn’t sinned. As the story flows, the Reverend also has deep sins, he tries to confess them, and an upset older brother with a hunting rifle gets into the mix.
As Sam Polk, Paul Arthur Mow is one of the highlights of the show. His voice is smooth and mellow and easy to listen to. He is a major factor patrons are drawn to sympathize with Susannah and her predicament. Faith Esham is also a strong cast as Susannah. She doesn’t overdo the carefree attitude, walking a fine line of innocence. Her voice is delightful and strong. Only William Parcher’s Rev. Blitch leaves anything lacking. The torment and pain of his personal agony never quite gets off the stage and into the audience. His repentance process is understood, yes, but not felt.
But taken in total, little is lacking in any of the UFOC offerings this season. In fact, the overly ambitious company has staged one of their strongest seasons in years.