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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (May 1, 1988)
Bithynia or bust Musical growth is accomplished not by treading familiar paths, but by venturing into the unknown treading familiar paths, but by venturing into the unknown. This vault into the musical firma he continued vitality of the Portland Gay ment, therefore, deserves substantial support in Men’s Chorus was demonstrated again by spite of the occasional stumble inherent in a the production of Lou Harrison’s Young Caesar project involving considerable risks, both at the Portland Center for the Performing Arts financial and musical. on the weekend of April 9 and 10. That having been said, the fact remains that First, the performance was the first large- Young Caesar was simply a dull opera. This scale production of the opera, with additional was not the result of limited funds, as the Oregon Gay News implied, since the reported budget for this affair was an impressive $30,000. The fault, dear Brutus, lay not in the budget but on the stage. — — — — — ■ — 11 ii i— iiMwr— ir— — The center of attention, of course, was the music and orchestration composed by Harrison music of Lou Harrison. The score to Young for the occasion. It represented an important Caesar was musically demanding with long step in the careers of both the Chorus and of recitatives performed against an orchestral Harrison, whose music appears recently to be accompaniment that provided either an Eastern- undergoing a renaissance. flavored or strictly percussive counterpoint. Second, the opera was the most musically Singers often were required to find their notes ambitious work ever attempted by the Chorus. without apparent assistance, a task that requires The score is artistically demanding, frequently sure pitch and a good deal of courage; the rela dissonant and requires a surer sense of timing tive dissonance of the music made this task all and pitch than any previous work performed by the more formidable. the Chorus. The result was a score that was not readily Third, the stage production provided an addi assimilable on first listening by the average lay tional challenge far different than the usual person, or even to more experienced musical mode of singers performing en masse before ears. No one wandered out of the Intermediate their conductor. This, after all, was an opera, Theatre on this evening whistling tunes heard which required even the humblest spear carriers moments before. That, of course, is hardly the to know their entrances and exits. test for musical excellence, but there did appear An artistic step in any one of these areas to be a lack of melodic cohesiveness. As a would ordinarily be sufficient to merit praise; consequence the opera lacked a flow that might the leap taken by the Chorus in all three makes have carried the listener from one scene to the its achievement all the more impressive. After next. Too often the singers’ recitations seemed all, musical growth is accomplished not by no more than swatches of paint flung upon an B Y DR. T A N T A L U S T ^TTlUOiCs^ abstract musical canvas. have had the gall to cross the Rubicon. Nor was the performance helped by having David Blair Hicks captured the essence of his seven scenes in each act. Although the sheer campy character, Dionysus, but occasionally number of scenes in itself was not fatal, there appeared to struggle for his notes and his pitch. was altogether too much shuffling about on Vernon Reitz, appearing as both a cup-bearer stage, which had the effect of convincing the and a statue, was the audience's sex-object of audience that it had witnessed two performances choice. instead of one. Selecting Ric Young to direct the per The orchestra was composed of members of formance was an inspired choice. Those who Virtuosi della Rosa, and it performed flawlessly. have had the opportunity to view Young’s pro Robert Hughes, who had conducted the earlier ductions in the past were not surprised at the puppet-theater version of Young Caesar, opera’s overt sexuality, which included servants in G-strings, phallic backdrops, a tasteful if dull demonstrated a light touch and a fine sense of “ orgy scene” and more bare butts than you direction. Special thanks go out to violinist Heman Constantino', who provided sweet sounds could shake your stick at. throughout the performance, and to the five Fortunately Young knows the boundary between good taste and excess; he also has the percussionists who were given ample opportu nity to demonstrate their chops. good sense to know when to cross it. We could have crossed it a few more times Saturday The most difficult singing role went to Chorus conductor David York, who as the title night, but perhaps a good cup of coffee would also have worked. character appeared in almost every scene. An Also worthy of special commendation was accomplished singer, York handled the demands of his role with aplomb. Owing to the magnitude the dancing provided by the Abts Dance Com pany. Emily Zarov, as Cossutia, performed an of his role, however, the opera faltered when ever York did the same. Whether it stemmed exquisite and sad dance as the rejected fiancée. Her mask was perhaps the opera's most remark from a cold or simply the repeated demands able costume. Zarov and Evan Knapp were also upon his voice, York had problems hitting his notes on Saturday night. delightful as monkeys and as dancers in the court of King Nicomedes. Narrator Steven Fulmer also performed As this description implies, the Chorus was admirably and showed spark and comic talent. Kevin J. Walsh, as King Nicomedes of Bithynia, not the focus of the performance. The Chorus , showed strength in both acting and singing, and however, showed considerable improvement in he provided much of the punch needed to keep its ability by performing difficult music, often Act Two from resembling the Titanic’s encounter without guidance from a conductor other than with the iceberg. Hughes, whose attention was directed more to the orchestra. Barbara Irvin, as Caesar’s Aunt Julia, stole In conclusion, the decision by the Portland every scene in which she appeared and demon Gay Men’s Chorus to perform Young Caesar is strated how on-stage charisma can reach the one that should be applauded for its daring, back seats of the upper balcony. Sure both of originality and execution. Although the opera her lines and of her voice, Irvin provided dramatic emphasis and comic relief as the occa may not have been everyone’s cup of tea — even tea would have provided some caffeine — sion required. Her departure at the end of Act the Chorus deserves credit for taking its audi One left only Walsh to carry the dramatic aspects of the play. Unfortunately, the Caesar in ence somewhere new instead of merely serving the same old items from its musical menu. • this opera was not the sort of person who would Ric Young again takes a daring non-conventional approach to theatre in Portland. The Passion for Fresh Flowers, a world premiere, is a provocative mix of Western and Eastern theatre styles. Blending Kabuki, Noh, Butoh and Kyogen with the Western world's greatest story, the life of Christ, The Passion for Fresh Flowers will be a powerful theatrical experience that will linger in the hearts and minds of all those who encounter it for days afterwards. A man comes to embrace and enlighten a world which worships only the pretty, the clean and healthy, the young and uncomplicated; a world that has a passion for fresh flowers and tramples the lovely, faded, dying blooms that fall amongst us. Storefront Theatre presents Ric Young's The Passion for Fresh Flowers, May 6 through June 12. For ticket information phone Storefront Theatre at 224 4001. Storefront Theatre, Experience the Unexpected I Just Out 21 May 1988
