Based on Oscar Wilde's hilarious play of the same name, this opera made its US Stage debut last night at the Rose Theater at Jazz at Lincoln Center. The production, with cast and direction from the Royal Opera, was part of the NY Philharmonic Biennial, the orchestra's festival of modern music and young talent. And there was no shortage of great music last night.
Being a fan of the play, I was curious to see what the opera would add or subtract from the play's satire. Luckily, Mr. Barry has removed very little from the play in the process of writing the libretto, keeping the spirit in tact. The costuming, however, has moved to the modern day, highlighted by having the priest dress in a bicyclist outfit and a neck brace. Despite the costumes and phones removing the physical setting from the original time period, it still keeps its mannerisms strong.
The orchestra is working overtime for this show by whistling, shouting in unison, stamping feet, and most of all, not letting the fact that they share the stage with the actors distract them. The percussionists Christopher S. Lamb and Daniel Druckman are especially to be acknowledge for their gun wielding, plate smashing, and große hammering. The show even includes prerecorded piano playing (which opened the show) and chamber male choir (spouting philosophies in Act 1).
The music is a wild ride with variations on Auld Lang Syne all over the place. Repeating dialogue with dancing to mimic Gilbert and Sullivan's "When I go out of door", French horn and viola trilling to evoke bees, and settings of Ode to Joy as lyric and patter songs. The score is vast and yet so small, the orchestra under Ilan Volkov's direction does it's very best to showcase Gerald Barry's creativity.
(Score courtesy of Schott and Hal Leonard)With minimal set design, meaning steps and a white backdrop, the physical comedy and personalities of the actors really steals the show. Claudia Boyle as Cecily kept her voice over the staff most of the performance, being the bratty sort of school girl that can match Barbara Hannigan's Mystery of the Macabre performance. It was a perfect counterbalance for Hilary Summers as Miss Prism, whose contralto register and mid word pauses showcase an absentmindedness with old age. Simon Wilding as Lane/Merrimen does most of the stage managing work, even getting to stomp boots on tables and throw the last few dinner plates. I do feel bad for Kevin West, whose speaking role of Reverend Chasuble is a little reduced in this adaptation, removing the dialogue between him and Miss Prism.
At the work's core though are the four main city folk: Benedict Nelson as Algernon, Paul Curievici as Jack Worthing, Stephanie Marshall as Gwendolyn, and Alan Ewing as Lady Bracknell. Each one is superb, working off each other and leading the emotional and comical high points. Jack's collectiveness stays strong and put under pressure by Bracknell's uptight attitude, Gwendolyn being overly directive, and Algernon's slobby self.
My favorite point in the show has to be when Gwendolyn and Cecily meet for the first time and do not look at each other while performing sprechstimme through megaphones. Then when she learns about Cecily's identity, Gwendolyn exclaims her discontent while the percussionist throws a dinner plate after every word. Think of SpongeBob in Rock Bottom and you can see that this is doing that right. Even the audience will applaud during a humming pause to acknowledge how great that moment is.
If you get a chance to see this while it's still in NYC, I highly recommend it. (Performances June 3-4 at Rose Theater at Jazz in Lincoln Center) Otherwise, a full performance with the same cast is available to view for free via the Royal Opera's YouTube page. You too can learn "the vital importance of Being Ernest".
