REVIEW: ‘South Pacific’ and ‘Boris Gudonuv’ present contrast in styles
The underlying theme of making choices, with consequences accompanying both right and wrong, was continued during the second day of productions by the Utah Festival Opera and Musical Theatre.
SOUTH PACIFIC
The popular 1949 musical-with-a-message by Rodgers and Hammerstein weaves together elements of World War II, love, prejudice and memorable music. The Broadway production won 10 Tony Awards during its initial run and has spawned numerous adaptations in other mediums.
The UFOC put “South Pacific” on the stage of the Ellen Eccles Theatre 10 years ago, and for the sake of comparisons, the current run is a notch above and more memorable than its predecessor from a decade ago.
“South Pacific” — the opening production, at least — got started off on the right foot by warming the hearts of audience members with the introduction of a local WW II veteran of the battle of Iwo Jima. Leading the audience in the Pledge of Allegiance and a rousing first verse of the national anthem, the aging member of The Greatest Generation was a wonderful visualization of pride and patriotism.
The strong start continued as characters were blended into the plot, beginning with Emile De Becque (Tongan plantation owner played by Branch Fields) and his two children, one of whom looked a lot like Oliver Twist. Nellie Forbush, a nurse at the nearby military base (played by Molly Mustonen) is seeing more and more of the debonair Emile and the pair are instantly attracted to each other.
The blending continues, as characters at the military base are revealed, the most memorable and important ones being Luther Bills (a seabee who has his fingers in numerous pies, played by Stephanos Tsirakoglou) and Lt. Joseph Cable, a transfer onto the base that has hero written all over him, played by the durable Mark Womack). Tsirakoglou has his second strong performance of the season, matching his Leporello of “Don Giovanni.” His presentation of the friendly, bumbling, conniving leader of the seebeas is spot-on and he is an instant audience favorite. His voice was strong and very listenable and his characterization is perfect, right down to the tattoo on his ample torso. When he leads the males of the base in “There is Nothing Like a Dame,” the production was off to a rousing, fun start.
Mustonen was also a fine cast as the blonde “cock-eyed optimist” from Little Rock. The pair of want-to-be lovers (Emile and Nellie) are very endearing and play well together. Fields, as Emile, is, of course, called upon to sing “Some Enchanted Evening” at every drop of a coconut, but even the repetitive feel of the ballad is overcome by his smooth, strong baritone. Fields is sometimes a bit stiff and reserved as Emile, but that, in fact, seems to fit the character.
Womack shows enthusiasm for his characterizations and his “You’ve Got to be Carefully Taught” is one of the best moments in the entire production, an important moment upon which much of the storyline turns.
While choreography takes more of a center-stage feel in “South Pacific” than in the first two productions this season, it is just enough — adequate, but not overly memorable.
Taken as a whole, though, “South Pacific” is a treat. It sounds good, it feels good and drives an important message home while giving audience members a half-dozen lively numbers to hum while leaving the theatre. Conductor Barbara Day Turner even extended her postlude to emphasis the spirited Rodgers and Hammerstein score and to help with the humming.
Grade: A
BORIS GUDUNOV
It doesn’t take long to fully understand that “Boris Gudunov” is going to be a different opera experience for audience members. Gone are decorative trappings — sets that tantalize and please the eye are replaced by a spartan, utilitarian set. Gone are smooth, lyrical orchestrations, replaced by a haunting, somber, almost religious-feeling score.
Gone is easy-on-the-ear Italian or French and in its stead, the bass-dominated Russian dialect, which seems to more often than not sound like a command or a shout.
And while many operas have ensembles or chorus, this is the largest ensemble to hit the UFOMT stage, often more than 80 actors and singers on stage at one time, almost overwhelming the production.
In the title role, Craig Hart excels. He was hand-picked by company founder Michael Ballam and has only this role to concentrate on this season. As the focus of this opera, Hart shows the torment, brooding and power via his strong bass and physical presence. He is a strength and pleasure to listen to.
Also a strong and important presence is a historian and monk, Pimen, played by Kristopher Irmiter. With an angular physique and strong voice, Irmiter is called upon to carry the storyline with lengthy bass solos, sharing his knowledge with novice monk Grigory. Irmiter’s presence and voice help carry the day and audience members can’t help but appreciate his ability to maintain his voice throughout the production. Grigory (played by Tanner Knight) was weak by comparison, his voice not carrying well through much of his effort.
It should be noted that this opera is the land of basses. Much of the score is on the low end of the scale and the dialect often guttural, resulting in several moments in which actors were unable to project well. Just the opposite, though, when chorus and ensemble numbers were staged. Due to their sheer numbers and the precision in which their voices combined, the chorus filled the Eccles Theatre with strength and pleasing power, especially early in the production when the new tsar is introduced.
This opera is also a wig-maker and costume designer’s dream. S
eemingly every male character had a long beard and equally long hair as part of their character and flowing robes and rich colors were the call of the day for costumes.
“Boris Gudonuv” is much more difficult to follow and enjoy than, say, a Broadway musical. It’s music is thick and full and takes time to digest. It’s message is strong regarding good and evil — as are others in the season’s lineup — but in the end is not likely to be a production that many will recommend to others. It feels more like a “bucket list” production — get that one done and mark it off the list. Individual performers within “Boris,” however, deserve much credit for their ability to open up a little-known aspect of operatic theater to patrons of the UFOMT.
B-minus.