On Friday night, I was given the delicious opportunity to see New York City Opera's current show, Séance on a Wet Afternoon. The piece was written by musical theater deity Steven Schwartz, prodigy behind Pippin, Godspell, and Wicked. This is Schwartz's first foray into opera, and he has adapted the 1964 film of the same name (originally a novel by Mark McShane), into a dramatic and elegant spectacle.
The plot: Myra, a local medium, and her obsequious husband, Billy, decide to stage the kidnapping of a little girl. Myra's interest is not in the ransom money however (she plans not to keep it), but rather in the fame and adulation she will assuredly gain when she "solves" the case using her visionary gift. The plan gets complicated, however, as the veil between the psychological and spiritual worlds begins to tear.
To say anything more would give too much away, but I will say the story is a lean and intriguing mystery, which turns many corners and asks many questions: about love, morality, reality, and the uncharted realms of the mind.
The production design, devised by Schwartz's son, Scott, is beautiful to behold. An entire Victorian style house is the main set piece, and made gorgeously ghostly with its translucent walls and silvery sheen. Curtains of chain shimmer and glint, reminding one of San Francisco rain or ethereal plasma. The actors are dressed in stylish period garb, and the masterful lighting design illuminates key moments with an otherworldly glow. These stage pictures were by far my favorite parts of the evening.
As to its success as an opera, I'll leave to more seasoned connoisseurs to debate in great detail. To my mind, Schwartz has attempted to make a piece that's accessible and modern. It's in English (and supertitled nonetheless), the language is clear (at times, perhaps more than necessary), the story is very easy to follow, but consistenly interesting, and the music is very pretty. I will say, the emotionality was a bit uneven for my taste - some high key moments fell a bit flat for me, while at other times I audibly gasped with surprise or reverie. I'm not sure if this was due to the fluctuating energy of the performers, or due to directorial or musical decisions that need to be tweaked. I will also say, that as visually stunning as the show is, the lack of any sort of change in the 2nd act made the enchantment wear a little thin. I would have loved to have seen a new set piece introduced, or even just a change of lighting or color or other sort new visual development as the story progressed.
That said, I feel very fortunate to have gotten to see this opera, and recommend others do the same. It's a lovely and eerie evening on the whole, with lots to dissect afterwards. One of the songs has been playing in my head ever since, like a phantom lullaby, and it still gives me the chills.
Remaining Dates at Lincoln Center:
Tuesday, April 26, 2011 at 7:30pm
Thursday, April 28, 2011 at 8pm
Friday, April 29, 2011 at 8pm
Saturday, April 30, 2011 at 8pm
Sunday, May 1, 2011 1:30pm
(And many thanks to the NYC Opera for my tickets!)
Comments