By Kathryn Olsen
It has been six months since the Utah Opera performed on-stage for the public at the Capitol Theater in Salt Lake City and the season opener of “Isolated One-Acts” features fantastically different works in The Human Voice and Gentleman’s Island. It is certainly a coronavirus-conscious experience from the moment that the ushers politely check patron symptoms and mask use at the doors to the ending of the socially-distanced satire that comprises the second half, but the accommodations make for a reassuring and enjoyable night at the theater. I, myself, had been eagerly looking forward to another night at the opera in March when the decision to cancel was made in March, so it was a thrill to find myself in the \audience for opening night.
The Human Voice is a one-act and one-woman opera by Francis Poulenc, based on a play by the same name by Jean Cocteau. The opera itself is, in fact, a result of a collaboration between the playwright and the composer and was originally premiered in 1959. Elle (Wendy Bryn Parmer/Edith Grossman) is a single woman who attempts to reconcile with her former lover on the eve of his wedding. She recognizes that the relationship of five years was toxic at times, but Elle is still in love with him. The original play features Elle using a telephone that has a party line and she suffers interruptions and miscommunications. In this updated version, we see her text messages, FaceTime calls, and even photo albums on the backdrop of the stage and it is certain that the original score did not contain the memorable Nokia ringtone.
Parmer plays the role with great passion and empathy. In a recent interview, she expressed the opinion that “ a trap a lot of people fall into is assuming that she’s crazy….I don’t think she is. She’s not, she’s very lonely and isolated, and there’s a big difference between lonely isolation and crazy “ There are moments of staggering vulnerability in which the emotional abuse she has suffered is writ large both in her hesitant expressions of grievances and her frequent apologies. Yet Parmer embraces her moments of self-assertion in a way that left the character as more triumphant than she was at the beginning. As compelling as Elle’s emotional journey is, the range of techniques between timid pleading and bold declarations in the upper registers of the human voice are fantastic to hear.
After a brief pause in which Elle’s cramped apartment is cleared away, the audience finds itself invited onto a desert Gentleman’s Island. This operetta by Joseph Horovitz, with the libretto by Gordon Snell and based on a poem by William S. Gilbert, briefly and hilariously recounts the story of Mr. Gray (Brian Stucki/Daniel O’Hearn) and Mr. Somers (Christopher Clayton/Brandon Bell), the only survivors of a shipwreck. They are both proper Englishmen, each of whom would like nothing more than to make the acquaintance of the other party, Unfortunately, they have not been introduced and by Victorian customs, they cannot speak to each other without that formality. The challenge is overcome when each realizes that they have an old school friend in common. The culmination of the work, however, has an unexpected twist, as all plots originating in the mind of Gilbert do.
It is difficult to imagine the performances of the characters separately, due to the complex interactions of Stucki and Clayton. Stucki is memorable for playing Mr. Gray as quick on his feet and eager to find a compromise. His attention to understated, but effective, physical comedy is a highlight of his performance. His recitatives are particularly delightful channels for his energy and he blends well with his counterpart in the duets.
Clayton, who plays an indigo importer, conveys an almost florid gravitas at times. This often gives way to moments of genuine glee that are a pleasant counterpoint to his businessman’s persona. Both characters change remarkably in this relatively-short work, but it is Clayton who “goes native” in a most amusing way. His vocal performance is nuanced as well as technically impressive.
The technical aspects of this production are invaluable. Kathy Maxwell‘s use of the backdrop in projection design and lighting are clever and innovative, highlighting the various attempts at contact in The Human Voice and depicting a balmy seashore as well as charming animations in Gentleman’s Island. Conductor and arranger James Lowe ensures that both the haunting piano accompaniment to Elle’s story and the quirky, boisterous score of Gentleman’s Island are an effective supporting feature of the performance. Kristine McIntyre directs this phenomenal project with skill and attention.
Due to safety precautions, there are fewer tickets to be found than in past performances, so it is well worth your while to don a mask and hurry to the Capitol Theater before these Isolated One-Acts pass you by.
Utah Symphony and Utah Opera’s safety measures are discussed here and will explain how the 2020-21 season has been reimagined for the protection of its patrons.
Utah Opera Presents The Human Voice and Gentleman’s Island; By Francis Poulenc (The Human Voice) and Joseph Horovitz (Gentleman’s Island). Libretto for Gentleman’s Island by Gordon Snell.
Janet Quinney Lawson Capitol Theatre
50 West 200 South, Salt Lake City, UT 84101
October 9-18, 2020 7:30 PM, Matinees on Saturday and Sunday at 1 PM
Tickets: $20-$110
www.usuo.org
Utah Opera Facebook Page
The Human Voice and Gentleman’s Island Facebook Event
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