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.
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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