By Spicer W. Carr
In perhaps their greatest feat to date, Utah Opera premiered their re-imagining of Jake Heggie and Gene Scheer’s masterwork Moby-Dick this last Saturday at the Capitol Theatre. The production, a joint enterprise between Pittsburgh Opera, Opera San Jose, Chicago Opera Theatre, and Gran Teatre del Liceu (Barcelona) was meant to deconstruct the piece down to its basics, and reassemble it so it might be better staged at mid-sized opera houses around the globe. Since its premiere in 2010, Moby-Dick has been regarded as a large and somewhat intimating work to pull off. But Utah Opera, along with director Kristine McIntyre and conductor Joseph Mechavich saw the potential to present an accessible production so that this masterwork might be better showcased with more companies to more audiences.
Design plays a crucial role in this remount, as the limitations of a mid-sized house are kept in mind when assembling the set and costumes. Set Designer Erhad Rom features elements that are abstract and presentational as the whole stage is covered in sea charts and maps. Then a more practical and representative side is then revealed as the show progresses with various units suddenly turning into masts, cots, longboats, whale blubber, and more, showcasing the ingenious imagination of Rom and the production team. What’s more, this imagination continues throughout the entirety of the piece, holding twists, turns, and surprises for the audience every step of the way. Costumes by Jessica Jahn and wig/makeup by Yance J. Quick feature period appropriate attire that evolves with the progression of the plot. Indeed, Jahn and Quick flex their storytelling muscles with every costume change, demonstrating how the crew of the Pequod slowly journey into madness with their damned Captain Ahab (Roger Honeywell). As the crew ventures further south, and further into their own demise, outer layers are shed to reveal a more slovenly, animalistic character. Overcoats and hats are stripped down to reveal bloodied shirts and mangled hair, representing the fall of the crew and the master.
In some ways, these design choices are reflective of the aria sung by Greenhorn (Joshua Dennis) in Act I, where he laments the failings and shortcomings of Western Civilization and its ‘Christian kindness’ as the crew ignores the needs of Pip (Jasmine Habersham) after being lost while at sea. In turn, the only comfort offered to the boy is found in Queequeg (Musa Ngqungwana) a Pagan prince. In short, the Western men with their Western ideals lose their trimmings and trappings once things become tough and their true nature becomes revealed. Here, we begin to see the true beauty of the story of Moby-Dick as realized by the opera: a coming of age story in a cruel world.
This coming of age narrative is beautifully portrayed by Dennis as Greenhorn. His beautiful arch from the bright-eyed, eager Greenhorn to the somewhat dismal and cynical Ishmael demonstrates the breadth of what an actor can accomplish in such a versatile piece. His singing, light and lyrical, complimented Heggie’s music perfectly allowing him to weave in and out of the complicated melismatic lines set in the score. His opposite, Ngqungwana, painted a jovial and merry Queequeg, the perfect static for Greenhorn that allowed him to act as a guide during his journey. His rich, colorful bass added texture to not only his own arias but to all ensembles he found himself a part of. Every moment his voice is heard, it adds a character of its own that helps support the entire ensemble.
Perhaps the greatest drama of the evening is between Honeywell as Captain Ahab and David Adam Moore as Starbuck. Honeywell’s erratic and unpredictable Ahab beautifully plays against the rigid, unmoving Starbuck, setting up an interesting dichotomy in which the two battle it out of the fate of the Pequod. But the true genius of these actors is not seen in their drive against one another, but the moments in which they lower their guard and allow both audience and scene partner to see there more vulnerable side. In a dramatic moment where Starbuck debates killing the mad captain, we see Moore grapple with the moral dilemma of killing a man who is endangering the lives of others. Here, Moore drops the Javert-esque character and instead adopts a more human tone of conflict instead of resolve. Honeywell also demonstrates the beauty of second thoughts in his aria to Starbuck where he sees his boy in the eye of Starbuck. This beautifully tender moment acts as a dramatic release from the somewhat tense storyline. Some other performers of note from the evening are the energetic Habersham as Pip, Joseph Gaines as Flask and Craig Irvin as Stub.
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Music for the evening was provided by the Utah Symphony and Utah Opera Chorus under the careful direction of Michaella Calzaretta (Chorus Master) Mechavich (Conductor). With such a difficult and complex score, it is always comforting to have the direct and guiding hand of a skilled musician like Mechavich leading the way through the battlements. Choreography is provided by Daniel Charon with featured dancers including Florian Alberge, Juan Carlos Claudio, John Allen, and Daniel Clifton. During the performance, dancers intermingle between singers and performers until it is almost impossible to tell who is who and all become members of the crew on the Pequod.
Opera lovers and novices alike should try and make their way to Utah Opera’s imaginative production of the American classic Moby-Dick at the Capitol Theater. Being a practitioner of music and theatre, I often find myself trudging to the theatre filled with both anxiety and regret. Once I become involved in the art form, the flaws and faults become easy to spot. But sometimes I see a production that reinvigorates my faith in the theatre. Utah Opera’s production of Moby-Dick was such an experience for me, as it demonstrated theatre can still be a vehicle for imaginative, accessible, and creative art. Don’t miss this fantastic offering here in Salt Lake City.
Utah Opera presents Moby Dick by Jake Heggie and Gene Scheer
Capitol Theatre, 50 W. 200 South, Salt Lake City, Utah 84101
January 20-26 7:30 PM, January 28 2:00 PM
Tickets: $15-89
Contact: 801-533-6683
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